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GRAPHICS; 


MANUAL 


DRAWING  AND  WRITING, 

FOR  THE  USE  OF 


SCHOOLS  AND  FAMILIES 


PUBLISHED  BY  J.  WHETHAM, 

144  CHESTNUT  STREET. 


1838. 


According 
In  the  Clerk’s  office 


Entered, 

to  Act  of  Congress,  in  the  year  1834,  hr 

REMBRANDT  PEALE, 

of  the  Distpct  Court  of  the  Southern  District  of 
New  York. 


STEREOTYPED  BY  FRANCIS  F.  RIPLEY, 
new  YORK. 


PREFACE. 


AceuRACY  and  facility  alone  can  render  the  art  of 
drawing  practically  useful,  and  a  permanent  acquisition. 
A  system  that  professes  to  teach  too  much,  is  as  ineffec¬ 
tual,  from  the  multitude  and  confusion  of  its  parts,  as 
one  that  teaches  too  little,  by  the  want  of  method  and 
deficiency  of  means.  That  which  is  now  offered  is  the 
result  of  long  experience,  and  is  not  only  rendered  more 
simply  analytical  and  progressive,  than  any  thing  hitherto 
published  ;  but  improved  by  several  new  propositions 
and  principles,  by  which  some  of  the  greatest  difficulties 
are  obviated,  and  the  whole  explained  in  a  concise  man¬ 
ner,  intelligible  to  the  most  ordinary  capacity.  Indeed, 
more  effort  has  been  devoted  to  reduce  the  details  into 
their  present  compass  and  simplicity,  than  would  have 
been  required  to  swell  them  into  the  dimensions  of  an 
intricate  and  costly  volume. 

In  the  demonstration  of  elementary  principles,  suffi¬ 
cient  means  are  afforded  by  wood  cuts  and  the  xylo- 
graphic  process  ;  which,  being  somewhat  like  pencil  o.r 
mk  drawings  and  writing,  will  be  found  to  encourage 
the  student ;  who  may  afterwards,  should  taste  or  genius 
prompt,  have  recourse  to  engravings  of  more  refined  and 
expensive  execution. 


1* 


6 


PREFACE. 


Since  the  first  edition  of  this  work  was  printed,  a  page 
of  capitals,  more  ornamental,  has  been  added,  to  show 
that  the  system  which  has  been  adopted  can  be  carried 
to  any  extent  that  taste  or  fancy  may  dictate — in  the 
imitation  or  formation  of  letters — the  parallel  lines  in  all 
cases  serving  to  divide  the  letters  into  proportional  parts, 
and  rendering  their  peculiarities  always  intelligible,  at  a 
glance,  to  those  who  have  arrived  at  the  requisite  facility 
in  drawing. 

When  the  principles  of  drawing  are  clearly  under¬ 
stood,  and  have  become  familiar  by  practice,  and  before 
any  attempt  be  made  at  writing,  the  student  should  draw, 
with  point  or  pencil,  the  correct  forms  of  writing,  only  as 
extended  lessons  in  drawing.  After  the  eye  and  judg¬ 
ment  are  satisfied,  by  repeated  corrections  and  variations, 
what  forms  of  letters  are  desirable,  then,  and  not  sooner, 
should  the  hand  be  trained  to  execute  them  with  fluency 
and  facility,  with  pen  and  ink. 

It  is  advisable  that  the  student  of  drawing,  if  old 
enough,  should  learn  to  rule  his  own  books,  according 
to  the  lessons  which  are  to  be  studied,  and  the  repeti¬ 
tions  which  may  be  required.  The  measurement  of 
lines,  and  their  mechanical  execution,  forming  an  essen¬ 
tial  part  of  the  system  which  is  to  be  learnt,  the  teacher 
should  see  that  they  are  properly  done,  before  any  use 
of  them  be  attempted.  If  a  pair  of  compasses  are  not 
at  hand,  a  strip  of  paper  may  serve  to  mark,  by  dots,  the 
proportions  of  lines  to  be  ruled. 

TJiis  system  of  drawing  is  obviously  calculated  to 
facilitate  the  peculiar  explanations  of  every  writing 
master  ;  who  should  in  fact  be  also  the  teachers  of  ele¬ 
mentary  drawing— at  once  lessening  their  own  arid 


PREFACE. 


7 


their  pupils’  labours,  and  extending  the  advantages  of 
their  experience  and  situation  as  Graphic  Professors. 

The  experience  of  the  persevering  Pestalozzi,  and 
his  associates,  in  Switzerland,  having  shown  the  advan¬ 
tage  of  teaching  the  elements  of  drawing  previous  to 
writing,  they  invented  an  alphabet  of  writing — a  single 
diagram — which  is  good  as  far  as  it  goes,  but  quite  in¬ 
adequate  to  explain  the  whole  system.  The  Graphics 
not  only  supply  the  deficiencies  of  former  systems,  and 
simplify  the  process  of  instruction,  but  show  the  con¬ 
nexion  between  drawing  and  writing,  and  demonstrate 
the  identity  of  their  principles. 

EXTRACTS  FROM  PESTALOZZI. 

“  Our  artists  have  no  elements  of  measure ;  but  by 
long  practice  they  acquire  a  greater  or  less  degree  of 
precision  in  seizing  and  imitating  outlines,  by  which  the 
necessity  of  measuring  is  superseded.  Each  of  them 
has  his  own  peculiar  method  of  proceeding,  which,  how¬ 
ever,  none  of  them  is  able  to  explain.  Hence  it  is,  that 
if  he  comes  to  teach  others,  he  leaves  his  pupils  to  grope 
in  the  dark,  even  as  he  did  himself,  and  to  acquire,  by 
immense  exertion  and  great  perseverance,  the  same  sort 
of  instinctive  feeling  of  proportions.  This  is  the  reason 
why  art  has  remained  exclusively  in  the  hands  of  a  few 
privileged  individuals,  who  had  talents  and  leisure  suf¬ 
ficient  to  pursue  that  circuitous  road.  And  yet  the  art 
of  drawing  ought  to  be  an  universal  acquirement,  for 
the  simple  reason,  that  the  faculty  for  it  is  universally 
inherent  in  the  constitution  of  the  human  mind.  This 
can,  at  all  events,  not  be  denied  by  those  who  admit  that 
every  individual  born  in  a  civilized  country  lias  a  claim 
to  instruction  in  reading  and  writing.  For  let  it  be  re¬ 
membered,  that  a  taste  for  measuring  and  drawing  is  in- 


8 


PREFACE. 


variably  manifesting  itself  in  the  child,  without  any 
assistance  of  art,  by  a  spontaneous  impulse  of  nature  ; 
whereas  the  task  of  learning  to  read  and  write  is,  on  ac¬ 
count  of  its  toilsomeness,  so  disagreeable  to  children, 
that  it  requires  great  art,  or  great  violence,  to  overcome 
the  aversion  to  it  which  they  almost  generally  evince ; 
and  that,  in  many  instances,  they  sustain  a  greater  in¬ 
jury  from  the  means  adopted  in  gaining  their  attention, 
and  enforcing  their  application,  than  can  ever  be  repair¬ 
ed  by  the  advantages  accruing  to  them  from  the  posses¬ 
sion  of  those  two  mechanical  acquirements.  In  propo¬ 
sing,  however,  the  art  of  drawing,  as  a  general  branch  of 
education,  it  is  not  to  be  forgotten,  that  I  consider  it  as  a 
means  of  leading  the  child  from  vague  perceptions  to 
clear  ideas.” 

“  The  art  of  writing,  to  be  taught  consistently  with 
nature,  ought  to  be  treated  as  subordinate  to  that  of 
drawing,  and  to  all  its  preparatory  acquirements,  espe¬ 
cially  the  art  of  measuring.”* 

“  Writing  is  no  more,  nay  even  less,  than  drawing,  to  be 
taught  without  a  previous  proficiency  in  the  measuring  of 
lines ;  for,  in  the  first  instance,  writing  itself  is  a  sort  of 
linear  drawing,  and  that  of  stated  forms,  from  which  no 
arbitrary  or  fanciful  deviation  is  permitted  ;  and,  se¬ 
condly,  the  practice  of  writing,  when  acquired  previous 
to,  and  independently  of,  drawing,  spoils  the  hand  and 
mars  its  freedom,  by  confining  it  to  a  few  peculiar  forms  on 
a  contracted  scale,  instead  of  cultivating  in  it  a  general 
ability  for  all  forms.  Another  reason,  why  drawing 
ought  to  be  taught  before  writing,  is,  that  by  the  previous 
acquirement  of  drawing  the  formation  of  the  letters  is 


*  Measuring,  Pestalozzi  considered  as  the  art  of  apprehending,  and 
drawing  as  that  of  representing  correctly  the  outline  of  any  object. 


PREFACE. 


9 


greatly  facilitated,  and  all  that  time  is  saved  which  child¬ 
ren  generally  spend  in  correcting  bad  habits,  contracted 
by  a  long  practice  of  bad  writing,  and  substituting  a 
good  hand  for  the  mis-shaped  and  incorrect  characters  to 
which  they  have  been  for  years  accustomed.  But  of  all 
the  arguments  that  may  be  urged  on  this  subject,  the 
most  important  is,  that  the  child  should  learn  to  do  every 
thing  in  perfection  from  its  beginning,  which  he  will  not 
be  able  to  do  in  writing,  unless  this  acquirement  be  built 
upon  an  elementary  course  of  drawing.” 


. 


if 


-  • 


INTRODUCTION. 


In  America,  more  than  any  other  country,  it  is  neces¬ 
sary  to  bestow  on  the  rising  generations  the  advantages 
of  a  good  education,  which  therefore  has  received,  and 
must  continue  to  receive,  the  zealous  attention  of  intelli¬ 
gent  and  benevolent  individuals.  The  States  are  suc¬ 
cessively  adopting  plans  for  insuring  the  means  of  gene¬ 
ral  instruction,  and  Seminaries  are  every  where  arising 
to  vie  with  each  other  in  facilitating  the  acquisition  of 
knowledge ;  whilst  teachers  of  experience  and  literary 
men  are  employing  their  talents  in  the  production,  com¬ 
pilation,  and  improvement  of  school  books,  and  elemen¬ 
tary  treatises. 

Among  the  branches  which  are  usually  taught,  the 
important  one  of  Writing  has  received  much  attention, 
and  numerous  professors  have  labored  to  improve  its 
principles  and  practice  ; — still  something  else  is  required 
to  lessen  the  difficulties  of  instruction.  The  Art  of 
Drawing,  sufficiently  simple  in  its  nature,  has  been  a 
mystery  in  the  hands  of  a  few,  not  many  of  whom  are 
able  to  explain  the  principles  upon  which  they  practise. 
In  the  System  which  is  here  offered  to  the  public,  these 
principles  are  explained,  in  a  manner  so  simple,  that 
every  student  may  readily  acquire  a  competent  profi¬ 
ciency.  The  degree  of  facility  which  may  be  attained 


12 


INTRODUCTION. 


must  depend  on  the  attention  that  is  bestowed,  and  the 
amount  of  practice. 

Drawing,  the  simplest  of  languages,  is  understood  by 
all,  except  the  blind,  and  can  be  practised  even  by  the 
deaf  and  dumb.  It  is  the  most  useful  of  the  arts,  be¬ 
cause  it  is  their  handmaid  in  arranging  and  defining 
their  purposes  ;  instantly  rendering  intelligible  details 
that  would  be  obscure,  and  gratifying  the  sentiment  of 
taste,  by  giving  to  objects  of  manufacture  the  attractive 
forms  of  elegance.  The  language  which  is  spoken  by 
the  draughtsman  becomes  the  law  and  guide  of  the 
workman.  The  rudest  materials  are  rendered  precious 
by  its  influence,  and  almost  every  occupation  in  life  pre¬ 
sents  occasions  for  its  service.  Its  utility  is  universally 
acknowledged,  and  every  child  exhibits  its  power  to  ar¬ 
rest  attention,  and  its  influence  in  conveying  instruc¬ 
tion.  Hence  its  extensive  employment,  especially  in 
modern  books  of  education  and  science.  Geometry, 
Mensuration  and  Surveying  are  founded  on  its  elements ; 
whilst  Geography,  with  every  kind  of  local  description, 
are  greatly  facilitated  to  the  eye  which  is  accustomed  to 
drawing. 

In  Germany,  drawing  has  long  been  a  part  of 
common  education  ;  and  in  France  the  facilities  for 
its  acquirement  are  widely  spread ;  consequently,  in 
those  countries,  and  in  some  degree  in  England,  many 
of  their  manufactures  have  greatly  improved  in  taste 
and  beauty.  These  are  advantages  of  national  impor¬ 
tance  ;  because  they  are  not  confined  to  the  individuals 
immediately  concerned,  but  their  benefits  necessarily 
extend  through  all  classes  of  society. 

The  advantages  of  speech  are  enjoyed  by  almost  all 
mankind,  of  whom  but  a  small  number  advance  to  the 
refinements  and  power  of  eloquence.  In  like  manner 


INTRODUCTION. 


13 


although  only  a  few,  peculiarly  talented,  may  succeed 
in  becoming  proficients  in  the  higher  departments  of 
drawing  or  painting,  yet  every  one,  without  any  genius 
but  application,  may  learn  the  simple  elements  of  this 
art  in  a  degree  sufficient  for  the  most  useful  purposes; 
the  labour  of  acquirement  being  lessened  by  the  pleasure 
and  evident  value  of  the  immediate  results. 

The  advantages  of  correct  perception  and  accurate 
discrimination  belong  to  the  educated  eye,  and  the  power 
of  exact  definition  and  precise  demonstration  alone  to 
the  experienced  hand.  Whoever  has  acquired  the  art 
of  drawing,  together  with  the  habits  of  observation 
which  are  induced  by  it,  possesses  an  ever  varying  fund 
of  enjoyment.  Not  only  are  the  works  of  art  better 
understood  by  those  who  can  draw,  but  the  heavens  and 
the  earth  display  their  beauties  and  magnificence' in  an 
endless  succession  of  natural  pictures,  with  greater  charm 
to  his  instructed  eye  ;  and  are  more  productive  of  refined 
and  inexhaustible  pleasure. 

Writing  is  nothing  else  than  drawing  the  forms  of 
letters.  Drawing  is  little  more  than  writing  the  forms 
of  objects.  Every  one  that  can  learn  to  write  is  capable 
of  learning  to  draw;  and  everyone  should  know  how 
to  draw,  that  can  find  advantage  in  writing.  The  two 
may  be  taught  together  without  increasing  the  task  of 
the  learner,  provided  the  teacher  understands  the  right 
method  ;  which  is  to  habituate  the  hand  to  move  in  all 
directions,  and  the  eye  to  judge  whether  the  movements 
be  correct.  The  art  of  drawing,  therefore,  requires  a 
knowledge  of  the  forms  and  proportions  of  objects,  and 
the  practice  of  marking  them  on  a  plane  surface,  as  they 
might  be  marked  on  a  glass  held  between  the  eye  and 
the  objpets. 

Writino-  is  chiefly  acquired  by  practice,  and  executed 

2 


~  TSSS*  kV.V 


14  INTRODUCTION. 

without  thought,  becoming  so  mechanical  a  habit,  by 
constant  repetition,  that  the  writer  can  seldom  form  his 
letters  but  after  one  fashion.  Those  persons,  therefore, 
who  are  capable  of  diversifying  their  writing,  have 
learned  to  draw  their  letters  after  different  models  ;  and 
can,  with  comparative  facility,  learn  to  draw  the  forms 
of  other  objects. 

The  greatest  difficulty  experienced  by  writers  in 
learning  to  draw,  is  in  making  perpendicular  lines. 
This  is  owing  to  the  early  habit  of  sloping  the  letters  in 
writing,  which  would  be  less  restrictive  if  children 
were  previously  taught  the  letters  of  the  alphabet,  by 
copying  them  from  letter  press,  particularly  the  Roman 
capitals  ;  by  which  practice  they  would  insensibly  and 
effectually  acquire  the  elements  of  drawing. 

The  elements  of  drawing  consist  of  perpendicular, 
horizontal,  diagonal,  and  circular  lines  ;  by  means  of 
which  the  general  forms  of  objects  may  be  represented. 
Observation  and  practice,  with  some  exercise  of  me¬ 
mory,  will  be  necessary  to  employ  these  lines  in  their  just 
proportions  and  proper  places. 

To  promote  these  views,  after  having  examined  the 
different  modes  of  instruction  practised  in  England, 
France,  and  Italy,  this  Manual  of  Drawing  has  been 
prepared  to  correct  the  imperfections  and  supply  the  de¬ 
ficiencies  of  other  elementary  works.  With  this  is  con¬ 
nected  a  simple  System  of  Writing,  as  dependent  upon 
drawing,  and  naturally  growing  out  of  it.  They  may 
be  taught  together  with  economy  of  time  and  obvious 
benefit,  as  the  irksomeness  of  Writing  will  disappear  in 
the  pleasure  of  Drawing.  The  simplicity  of  this  Ma¬ 
nual  will  recommend  it  to  every  parent  and  teacher,  and 
its  small  price  place  it  within  the  reach  of  every  scholar. 
Tt  is  a  little  ladder,  reaching  to  valuable  attainments,  if  the 


INTRODUCTION. 


15 


steps,  which  are  few  and  easy,  are  mounted  singly  and 
steadily — commencing  with  the  laudable  spirit  of  the 
recommendatory  motto,  “  Try.” 

It  is  worthy  of  especial  remark,  that  there  is  no  per¬ 
son,  however  ignorant  of  drawing,  who  does  not  habi¬ 
tually  discriminate  between  the  proportions  and  con¬ 
tours  of  objects,  even  in  the  human  countenance,  in 
their  most  minute  variations.  This  demonstrates  the 
universal  accuracy  of  the  eye,  and  leaves  us  to  conclude 
that  nothing  more  is  required  to  become  draughtsmen, 
than  to  analyze  those  objects,  to  reason  upon  their  pro¬ 
portional  differences,  to  define  them  by  specific  rules, 
and  to  acquire,  by  strict  manual  exercise,  a  habit  of 
prompt  obedience  to  the  will  in  the  imitation  of  those 
contours  ;  as  all  the  facility  which  is  necessary  and  may 
be  attained  in  drawing,  as  in  writing,  depends  upon  the 
habits  of  motion  to  which  the  fingers  and  wrist  may  be 
trained  by  frequent  observations  and  practice. 

But  it  is  essential  to  the  success  of  the  student,  that 
the  first  lesson  should  be  fairly  studied  and  practised, 
until  accuracy  and  facility  are  attained,  before  any 
attention  be  paid  to  the  second  ;  and  so  on  through  the 
whole  course.  A  rigid  compliance  with  this  injunction 
is  equally  required  of  the  apt  and  the  dull ;  for  the  lat¬ 
ter,  by  undeviating  attention,  may,  like  the  tortoise  in 
the  fable,  win  the  race  in  competition  with  the  former 
in  a  careless  and  erratic  course.  It  is  truly  said  by  Sir 
Joshua  Reynolds,  that  “  nothing  is  denied  to  well  direct¬ 
ed  industry.” 

It  is  incumbent  on  the  Parent  or  Teacher,  to  under¬ 
stand  the  meaning  of  each  page  as  it  occurs,  and  to  see 


taken,  which  thus  is  made  easy  and  a  guide  to  what  fol- 


1C 


INTRODUCTION. 


lows.  Begin— do  something — the  best  you  can,  no  mat¬ 
ter  how  bad — you  have  then  something  to  correct.  The 
practice  of  correction  will  teach  more  than  if  you  had 
done  it  right  by  accident.  Repeated  corrections  lead  to 
excellence. 


Professor  Leiber,  in  his  report  to  the  Trustees  of 
the  Girard  College ,  warmly  recommends  Drawing  as 
an  essential  part  of  early  education,  quoting  Goethe,  who 
has  said  “We  talk  too  much  and  draw  too  little.”  He 
remarks  that  those  who  draw  well  have  more  distinct  con¬ 
ceptions  of  what  they  see,  and  explain  their  views  with 
most  certainty  and  effect ;  he  therefore  deems  it  an  object 
of  the  greatest  importance  to  cultivate  in  young  per¬ 
sons,  by  means  of  drawing,  a  facility  and  accuracy  in 
discriminating  the  characteristic  forms  of  objects  at  first 
sight,  and  adds,  that  “  persons  who  never  see  attentively, 
and  whose  eyes  convey  but  dim  images  to  the  mind, 
never  become  good  observers  and  seldom  close  reasoners ; 
nor  does  their  memory  long  retain  those  ill  defined 
images  and  superficial  impressions.” 


MATERIALS. 


The  cheapest  materials  for  elementary  practice  in 
drawing  and  writing  are,  doubtless,  the  slate  and  slate- 
pencil,  which  are  to  be  employed  as  far  as  economy  may 
require  ;  but  as  writing  must  ultimately  be  practised  with 
pen  on  paper,  so  drawing  must  be  made  familiar  with  its 
proper  materials,  pencil  and  paper,  pen  and  ink. 

As  it  is  more  desirable  to  acquire  a  habit  of  general 
accuracy  than  to  exhibit  merely  the  beauty  of  neat  and 
smooth  outlines  in  drawing,  gray  cartridge  or  coarse 
white  paper  is  to  be  preferred.  When  the  paper  is 
coarse,  its  cheapness  will  favour  an  abundant  use  of  it, 
and  no  other  merit  will  be  sought  for  than  that  of  cor¬ 
rectness  in  the  proportions  and  facility  of  execution.  It 
will  be  easy  enough  afterwards  to  superadd  the  refine¬ 
ments  of  surface  and  finish  on  more  costly  paper,  or  the 
smoothest  Bristol  boards. 

The  best  material  for  acquiring  freedom  in  sketching 
is  fine  charcoal,  made  of  small  branches  of  willow  or 
poplar,  divested  of  bark,  dried  and  burned  in  a  close 
vessel,  or  crucible  filled  with  sand,  and  suffered  to  get 
cold  before  exposure  to  the  air.  These  charcoal  crayons 
may  be  cut  sufficiently  pointed,  produce  a  light  stroke, 
and  may  be  brushed  out  so  as  to  admit  of  repeated 
corrections,  which  may  be  made  on  cartridge  paper, 
canvass,  or  painted  board.  When  sufficiently  corrected, 
the  drawing  may  be  confirmed  and  rendered  more  per¬ 
manent,  if  necessary,  either  with  lead  pencil,  Italian 
chalk,  or  French  crayon. 

2* 


18 


HOLDING  THE  PENCIL. 


Hard  lead  pencils  are  necessary  for  fine  or  minute 
drawing,  but  lead  that  is  fine  and  soft  is  best  for  slight 
and  spirited  sketches.  The  errors  with  lead  pencil  are 
easily  erased  for  correction  by  means  of  Indian  rubber  or 
crumbs  of  bread. 

Italian  chalk  (more  correctly  Spanish  stone)  must  be 
used  slightly  damp,  and  produces  lines  that  are  not  glossy, 
and  do  not  easily  smear  or  rub  out. 

Black  crayon,  from  France,  made  of  sized  lampblack, 
of  different  degrees  of  hardness,  is  more  intensely  black; 
and,  though  comparatively  harsh,  admits  of  greater  free¬ 
dom  and  fulness  of  effect,  especially  in  shading  ;  but  it  is 
easily  sullied  by  rubbing. 


HOLDING  THE  PENCIL. 

In  writing,  it  is  customary  to  hold  the  pen  pressed 
between  the  thumb  and  second  finger,  letting  the  first 
finger  rest  on  the  quill.  In  drawing,  it  is  better  to  hold 
the  pencil  between  the  thumb  and  fore-finger,  resting  it 
over  the  nail  of  the  second  finger;  the  fingers  moderately 
bent,  and  the  pencil  held  more  perpendicularly  to  the  pa¬ 
per  than  the  pen  is  used  in  writing.  In  this  position  the 
pencil  may  be  moved  with  more  certainty  and  force  in 
any  direction,  and,  when  necessary,  with  grgater  freedom, 
rolling,  as  it  were,  between  the  thumb  and  the  first  and 
second  fingers. 

In  beginning  to  draw  any  figure,  it  is  best  to  sketch  it 
very  lightly,  marking  only  the  general  proportions  ;  not, 
as  some  recommend,  in  a  dotted  manner,  but  in  some- 


POSTURE. 


19 


what  continuous  light  strokes  ;  observing  to  correct  the 
errors  with  Indian  rubber  or  stale  bread,  without  entirely 
rubbing  out  the  false  lines  which  are  about  it;  after  which 
it  may  be  still  further  corrected  and  strengthened. 


POSTURE. 

The  desk  or  drawing  board  should  be  so  much  sloping 
as  to  present  the  paper  nearly  at  right  angles  to  the  eye, 
and  so  low  as  to  allow  the  elbow  and  hand  to  move 
without  constraint  in  any  direction.  Otherwise  the  pa¬ 
per,  canvass,  or  panel,  should  be  placed  on  a  frame  or 
easel,  so  erect  and  elevated  that  the  student,  with  ex¬ 
tended  arm,  may  sketch  with  greater  freedom  ;  especially 
as  he  advances  in  the  study,  and  may  be  disposed  to 
execute  in  large.  The  paper  or  board  should  remain 
stationary,  and  only  the  hand  and  elbow  be  varied  to  ac¬ 
complish  the  different  motions  which  may  be  found  ne¬ 
cessary. 


* 


MANUAL  OF  DRAWING. 


STRAIGHT  LINES. 


The  first  effort  in  drawing  should  be  to  acquire  faci¬ 
lity  in  making  straight  lines.  For  this  purpose,  divide  a 
page,  or  more,  into  regular  squares  of  about  two  inches, 
and,  with  a  pencil  or  pen,  without  ruler  or  compasses,  fill 
up  the  spaces  with  lines  drawn  parallel  to  each  other ; 
sometimes  beginning  at  the  top,  and  as  often  at  the  bot¬ 
tom;  sometimes  at  the  left,  and  as  often  at  the  right;  un¬ 
til  the  hand  attains  an  equal  facility  in  drawing  them  in 
any  direction,  and  the  eye  may  be  satisfied  with  their 
accuracy.  It  is  not  necessary  that  they  should  have 
the  appearance  of  ruled  lines,  as  if  intended  for  draw¬ 
ing  machinery  or  architecture  ;  but  rather  a  general  cor¬ 
rectness,  like  the  resolute  furrows  of  a  well  ploughed 

field. 


22 


MANUAL  OF  DRAWING. 


« 

PROPORTIONS  OF  LINES. 


After  drawing  straight  lines  with  accuracy,  it  is  neces¬ 
sary  to  habituate  the  eye  to  measure  their  proportions. 
For  this  purpose,  without  any  marked  limits,  draw  lines 
parallel  with  each  other,  so  that  they  might  come  within 
a  square  ;  or  be  of  one  half,  third,  fourth,  or  fifth  of  any 
given  line — longer  or  shorter — without  the  aid  of  com¬ 
passes,  except  to  ascertain,  after  making  it,  if  the  attempt 
be  correct.  Efforts  cannot  be  too  often  made  to  fix  the 
rule  and  compass  in  the  eye,  which  can  be  accomplished 
only  by  frequent  observation  and  practice  ;  for  it  must 
never  be  forgotten,  that  the  art  of  drawing  is  the  art  of 
seeing  and  understanding,  as  well  as  of  imitating  with 
correctness ;  without  which,  facility  itself  would  be  a 
bad  habit,  as  it  would  be  only  multiplying  errors. 


MANUAL  OF  DRAWING. 


23 


DIAGONAL  LINES. 


To  acquire  the  habit  of  drawing  lines  truly  diagonal, 
begin  them  at  one  corner  of  the  ruled  squares  and  cross 
to  the  other  ;  filling  up  the  spaces  at  each  side  with  lines 
parallel  to  the  first ;  and  practise  this  as  frequently  up¬ 
ward  as  downward.  The  eye  will  thus  soon  become 
enabled  to  direct  the  hand  in  drawing  a  right  angle 
triangle  of  any  desired  proportions,  without  the  aid  of  the 
compasses,  and  without  shifting  the  position  of  the  paper, 
or  too  much  varying  the  posture  ;  although  it  is  advisa¬ 
ble  sometimes  to  change  the  direction  of  the  arm  and 
elbow  according  to  the  tendency  of  the  lines  to  be  made. 
Oblique  lines,  the  reverse  of  writing,  are  always  the 
most  difficult,  and  therefore  require  a  longer  course  of 
practice. 


24 


MANUAL  OF  DRAWING. 


RIGHT  ANGLE  AND  DIAGONAL. 


The  previous  lesson  is  exemplified  in  this  diagram. 
Draw  a  perpendicular  ;  then  connect  it  with  a  horizon¬ 
tal  of  equal  length.  Although  the  eye  cannot,  at  first, 
instantly  perceive  when  the  perpendicular  and  horizon¬ 
tal  lines  are  made  of  equal  length,  running  as  they  do  in 
different  directions,  it  is  assisted  by  the  use  of  the  diago¬ 
nal  line,  to  which  the  eye  must  be  already  habituated — 
as  this  line  cannot  be  truly  diagonal  unless  it  be  such  as 
would  cross  from  one  corner  of  a  square  to  the  opposite; 
and  further,  that  if  crossed  at  its  centre  by  another,  as  in 
fig.  2,  they  would  cross  at  right  angles,  and,  being  of  equal 
length,  would  form  the  limits  of  a  square.  Thus  with  a 
little  practice  may  be  obtained  a  facility  in  defining  the 
length  and  breadth  of  a  square,  or  a  square  and  a  half, 
or  oblongs  of  any  other  proportions. 


MANUAL  OP  DRAWING. 


25 


OBLIQUE  LINES. 


As  the  contours  of  various  objects  are  more  or  less 
diagonal,  it  is  necessary  to  judge  of  their  obliquity  by 
comparing  them  with  real  or  imaginary  perpendicular 
or  horizontal  lines  ;  and  to  habituate  the  eye  to  measure 
within  what  dimensions  of  square  or  oblong  the  line  in 
question  might  be  comprised — viz.,  one  half,  third,  fourth, 
&c.  The  dotted  lines  indicate  those  which  may  be 
measured  and  ruled,  and  the  radiating  lines  may  be 
practised  from  and  to  the  centre. 

It  is  desirable  not  merely  to  possess  the  ability  to  draw 
these  lines  with  certain  proportions  of  obliquity  at  will, 
but  to  apply  them,  as  real  or  imaginary  lines,  to  assist  in 
judging  of  the  dimensions  or  relative  situation  of  other 
objects.  The  importance  of  this  application  will  induce 
a  correspondent  effort  to  attain  sufficient  precision  of 
hand  and  eye. 


3 


26 


MANUAL  OF  DRAWING. 


REGULAR  TRIANGLES. 


The  eye  must  be  accustomed  to  notice  the  proportions 
of  different  angles,  and  always  to  refer  them  to  some  sim¬ 
ple  elements  or  principles ;  as,  the  triangle  whose  sides 
are  of  equal  length,  as  fig.  1 ;  the  triangle,  one  of  whose 
corners  is  a  right  angle  or  square,  as  fig.  2;  or  the  trian¬ 
gles  of  obtuse  or  acute  angles,  as  figures  3  and  4.  It  will 
require  frequent  practice  before  the  student  may  be  able 
to  draw  these  figures  without  rule  or  compass,  except  to 
judge  of  the  accuracy  of  his  attempts.  But  he  must  not 
limit  his  view  to  the  mere  act  of  drawing  these  triangles; 
he  must  frequently,  in  noticing  the  proportions  of  objects, 
and  their  most  obvious  points,  by  a  mental  effort  resolve 
them  into  triangles,  with  reference,  always,  to  some  ima¬ 
ginary  perpendicular  or  horizontal  line. 


MANUAL  OP  DRAWING. 


27 


IRREGULAR  TRIANGLES. 


It  will  not  be  difficult  now  to  comprehend  and  to  draw 
other  angles,  either  more  acute  or  more  obtuse,  of  every 
proportion  and  in  any  direction  ;  and  this  not  merely  for 
the  purpose  and  practice  of  drawing  such  figures,  but  as 
lines,  and  points,  and  distances,  by  which  to  ascertain 
the  proportions  of  every  object  and  its  parts  which  are 
to  be  imitated. 

Great  advantage  will  arise,  in  looking  at  natural  ob¬ 
jects  with  a  view  to  their  imitation,  from  a  constant  habit 
of  analyzing  their  proportions,  by  noting  the  character, 
dimensions,  and  direction  of  the  triangular  lines  which 
may  be  imagined  to  run  between  the  principal  points ; 
especially  if  associated  with  a  reference  to  perpendicular 
and  horizontal  lines  and  points  of  comparison. 


28 


MANUAL  OF  DRAWING. 


CURVES  WITHIN  ANGLES. 


Curves  are  to  be  understood  as  they  are  proportioned 
by  length  and  breadth,  and  cannot  be  more  correctly 
imagined  than  as  they  may  be  found  within  certain 
straight  or  angular  lines.  It  is  not  difficult  to  draw  a 
circle  within  a  regular  figure  of  twelve  equal  sides ;  but 
a  still  more  improving  practice  is  to  draw  it  within  an 
octagon,  hexagon,  or  square. 

In  drawing  them,  attention  must  be  directed  to  make 
one  section  correspond  with  another,  either  in  the  semi¬ 
circular  bows,  as  «,  or  in  the  sweep  of  the  quadrants,  as  b. 
The  eye  and  hand  acquire  correctness  by  a  frequent 
practice  of  drawing  curved  lines,  either  circular  or  oval, 
to  correspond  with  each  other,  on  both  sides  of  a  perpen¬ 
dicular  or  horizontal  line. 


MANUAL  OF  DRAWING. 


S9 


CURVES  OUTSIDE  OF  ANGLES. 

b  ‘ 


Circles  drawn  outside  of  squares  and  triangles  demand 
a  greater  range  of  motion,  and  induce  a  greater  freedom 
of  hand,  but  require  a  more  rigid  circumspection ;  the 
angular  corners  serving  only  as  so  many  equidistant 
points,  and  the  straight  lines  as  guides  in  regulating  the 
proportions  of  the  arcs  or  bows  from  a  to  b,  on  every 
side. 

It  is  not  so  essential  to  obtain  facility  in  drawing  a 
true  circle  without  correction,  as  to  educate  the  eye  to 
perceive  accurately  the  proportions  and  symmetry  of  the 
parts,  and  to  notice  every  indent  or  excess  to  be  correct¬ 
ed  in  giving  a  uniform  sweep  to  the  curves.  In  making 
these  corrections,  it  will  be  found  best  to  correct  and 
re-correct  by  additional  strokes,  without  rubbing  out  the 
first  lines,  which  may  serve  as  guides  in  the  revision, 

until  the  desired  form  lie  obtained. 

3* 


30 


MANUAL  OF  DRAWING. 


PRACTICE  OF  THE  CIRCLE. 


Circles  or  segments  of  circles  may  now  be  drawn,  one 
within  the  other — outside  and  inside  of  one  which  may 
be  made  with  the  compasses,  (as  indicated  by  the  dotted 
line,) — taking  care  to  practise  the  hand  by  moving  the 
pencil  to  the  right  and  left,  up  and  down,  in  portions, 
until  the  general  aspect  of  the  figure  be  obtained;  for, 
the  eye  can  more  readily  perceive  a  deviation  from  the 
regular  figure  than  the  hand  can  correct  it ;  yet,  being 
corrected  again  and  again,  with  slight  touches,  it  may, 
at  last,  be  defined  by  a  stronger  or  bolder  line.  Few  ar¬ 
tists  have  ever  attained  the  ability  of  drawing  such  circles 
without  amendment ;  nor  is  such  perfection  necessary. 
It  is  enough  if  the  eye  can  perceive  the  errors,  and  the 
hand  be  able  to  correct  them  in  detail. 


MANUAL  OF  DRAWING. 


31 


PRACTICE  OF  CURVES. 


For  the  purpose  of  habituating  the  eye  and  hand  to 
every  sort  of  form  and  movement,  it  is  recommended  to 
draw  a  circle  with  the  compasses,  and  then  repeatedly 
to  retrace  or  repeat  the  line ;  sometimes  moving  the 
pencil  to  the  right  hand,  sometimes  to  the  left.  Serpen¬ 
tine  lines,  sections  of  curves,  and  combinations  of  straight 
and  curved  lines,  drawn  on  a  large  scale,  and  repeated 
backwards  and  forwards,  can  be  executed  without  the 
aid  of  a  master,  as  the  inaccuracies  show  themselves. 
This  should  be  practised  until  the  lines,  though  fre¬ 
quently  repeated,  shall  be  but  little  or  irregularly  widen¬ 
ed  :  nothing  more  being  intended  than  to  habituate  the 
hand  to  every  motion,  and  an  instantaneous  obedience  to 
the  will.  In  this  respect,  tracing  on  tissue  paper,  though 
a  mode  of  copying  not  solely  to  be  relied  on,  and  not  cal¬ 
culated  to  teach  the  principles  of  drawing,  or  capable  of 
producing  any  thing  larger  or  smaller  than  the  model — 
yet  is  not  without  advantage  in  the  practice  here  recom¬ 
mended,  when  found  convenient  to  be  resorted  to. 


32 


MANUAL  OF  DRAWING. 


OVALS. 


There  are  Various  geometrical  modes  of  making  true 
ellipses  or  ovals ;  but  for  the  general  purposes  of  draw¬ 
ing,  they  may  simply  be  considered  as  curves  drawn 
within  regular  oblongs,  which  are  thus  made  the  mea¬ 
sure  of  their  proportions.  An  oval,  therefore,  must  be 
understood  as  it  may  be  comprised  within  an  oblong, 
more  or  less  narrow  in  proportion  to  its  length ;  or  in 
reference  to  a  middle  line  of  length  and  a  cross  line  of 
breadth.  Due  attention  must  be  paid,  as  with  the  cir¬ 
cle  and  all  regular  curves,  that  one  section  may  corres¬ 
pond  with  the  opposite,  so  that  if  folded  at  the  centre 
they  should  correspond  and  touch  in  all  their  course.  It  is 
therefore  the  best  practice,  in  making  them,  to  draw  them 
in  quarter  sections,  first  on  one  side,  then  on  the  other. 


MANUAL  OF  DRAWING. 


33 


EGG  OR  WEDGE-SHAPE  OVAL. 


A  curved  line  drawn  within  an  irregular  oblong  or 
wedge  shape  figure,  touching  near  the  centre  of  each  side, 
will  produce  an  oval  large  at  one  end  and  small  at  the 
other,  like  an  egg,  or  the  human  face. 

In  vases  and  other  ornamental  figures,  very  beautiful 
forms  are  made  by  the  combination  of  regular  ovals  of 
different  dimensions  and  proportions  ;  but  in  most  natu¬ 
ral  objects,  especially  the  human  face,  a  more  exquisite 
beauty  results  from  the  variety  afforded  in  the  propor¬ 
tions  of  the  egg-shape  oval,  more  or  less  pointed.  Every 
variety  is  to  be  found  in  the  leaves  of  trees,  petals  of 
flowers,  and  fruit. 

Ovals  of  various  proportions  should  be  drawn  in  every 
direction,  to  acquire  facility  in  executing  a  form  that  is 
the  element  of  so  many  beautiful  objects. 


34 


MANUAL  OF  DRAWING. 


PROPORTIONS  OF  CURVES. 


Curves,  whether  simple  or  compounded  of  more  parts 
than  one,  may  be  further  considered  as  they  are  found 
to  be  portions  of  circles  or  ovals  ;  and  they  may  be  imi¬ 
tated  by  producing  equal  or  similar  swells  upon  a  line,  as 
a ,  supposed  to  run  through  them ;  taking  care  to  imagine 
the  supposed  line  in  the  copy  to  run  in  the  same  direction 
with  that  of  the  original. 

The  curved  lines  to  be  imitated  may  require  the  straight 
line,  which  may  be  supposed  to  intersect  them,  to  run 
either  in  a  perpendicular,  horizontal,  or  oblique  direction, 
to  which  due  attention  must  be  paid,  as  well  as  to  the  de¬ 
gree  and  regularity  or  irregularity  of  the  swells  or  bows,  to 
which  the  line  b ,  has  reference. 


MANUAL  OF  DRAWING, 


IRREGULAR  CURVES. 


Irregular  curves,  in  whatever  forms  they  occur,  are  best 
understood  by  examining  such  portions  of  .them,  as  would 
resemble  bows  if  intersected  by  straight  lines  ;  noticing 
the  direction  in  which  the  strings  or  chords  would  run, 
and  the  angles  they  would  form ;  whether  the  swell  be  in 
the  centre  or  towards  one  end  ;  and  whether  regularly 
rounded,  flattened,  or  angular. 

A  section  of  the  outline  of  an  egg,  fig.  1.,  exhibits  a  bow, 
whose  greatest  bend  is  at  a.  An  irregular  curve,  as  of  a 
mountain,  fig.  2.,  consisting  of  more  than  one  swell,  may 
be  considered  as  so  many  bows  or  arches,  whose  propor¬ 
tions  may  be  separately  examined,  as  well  as  the  direction 
of  their  chords  or  bases,  or  angles  formed  by  them. 


MANUAL  OF  DRAWING. 


& 


CURVES  DEFINED  BY  ANGLES. 


All  curves  may  be  considered  as  essentially  composed 
of  short  angular  lines,  the  direction  and  length  of  which 
determine  the  shape  of  the  object,  as  in  fig.  1,  which  is 
an  example  of  a  curve  composed  of  segments  of  straight 
lines.  The  dotted  lines  are  extended  only  to  show  more, 
distinctly  their  direction ;  because  the  character  of  the 
entire  form  depends  altogether  upon  the  direction  and 
length  of  the  individual  parts.  Very  few  objects  con¬ 
sist  of  lines  so  regularly  curved  as  not  to  show  soma 
degree  of  angularity,  which  should  always  be  observed 
in  copying  them.  Fig.  2.,  shows  in  what  manner  any 
figure  may  be  defined  by  angular  boundaries.  At  a  suf¬ 
ficient,  distance  these  angles  are  not  perceived,  and  the 
lines  appear  only  as  curves.  Artists  call  this  angular  style 
the  blocking  out  of  a  form.  It  is  a  survey  of  the  plot. 


MANUAL  OF  DRAWING. 


37 


ROMAN  CAPITALS. 


The  well  known  character  of  the  forms  and  proportions 
of  printed  letters,  which  enables  the  copier  to  perceive 
when  the  task  is  rightly  performed,  constitutes  the  great 
advantage  to  be  found  in  using  the  Roman  Capitals  as 
lessons  for  drawing.  Every  child  that  learns  its  letters 
should,  at  the  same  time,  be  taught  to  draw  them,  how- 
ever  rudely  at  first,  and  cannot  be  better  employed  until 
a  sufficient  accuracy  is  obtained  ;  but  if  this  has  not  been 
done,  the  student  of  drawing  should  sedulously  practice 
this  exercise,  commencing  with  the  simplest  and  proceed¬ 
ing  to  the  most  difficult,  according  to  some  such  arrange¬ 
ment  as  this,  viz.  IHLTFEAVKNZMYWXJD 
PBRCGORUS.  Such  an  application  of  the  letters, 
which  contain  all  the  elements  of  form,  will  truly  consti¬ 
tute  it  the  Alphabet  of  Drawing,  as  explained  in  our 

analytical  diagrams. 

4 


MANUAL  OF  WRITING 


TRANSITION  FROM  DRAWING. 

•v 


t 


The  regular  course  of  drawing  is  here  suspended,  to 
introduce  a  system  of  writing  which  is  essentially  found¬ 
ed  on  that  of  drawing,  and  for  which  the  student  must 
be  now  prepared.  To  attempt  to  write  before  the  eye 
has  become  critical  of  forms,  and  the  hand  can  obey  the 
judgment,  is  only  to  labour  against  reason,  and  to  fall 
into  bad  habits.  The  teacher  of  writing  endeavours  to 
guard  against  these  by  the  force  of  habit,  which,  in  a  de¬ 
gree,  answers  the  purpose  ;  but  not  with  the  certainty 
and  charm  which  encourage  such  as  have  been  prepared 
by  the  elements  of  drawing.  It  is  time  enough  then  to 
commence  writing,  which  is  of  so  much  importance  that 
its  attainment  is  worthy  of  every  effort ;  but  no  effort  can 
be  so  effectual  as  one  which  follows  a  well  grounded 
study  of  principles  which  are  the  foundation  of  that  as 
well  as  so  many  other  arts.  Children  are  usually  put  to 
writing  too  young.  They  cannot  begin  to  draw  too  soon. 
And  they  should  not  be  permitted  to  learn  to  write  until 


40 


MANUAL  OF  WRITING. 


they  are  somewhat  prepared  for  it,  which  will  make  it 
easy,  and  desirable  ;  indeed  it  is  the  only  rational  mode 
of  proceeding,  and  chiefly  advantageous  as  the  eye  is 
taught  to  judge  without  hesitation  of  every  kind  of  line 
which  the  hand  may  be  required  to  execute. 


SYSTEMS  OF  PENMANSHIP. 

Three  distinct  systems  have  hitherto  prevailed.  One 
which  proposes  to  regulate  the  letters  by  three,  four, 
or  five  ruled  horizontal  lines,  as  in  music ;  another  with 
a  view  to  slope  and  breadth,  which  prescribes  them  to 
be  written  upon  oblique  lines  with  equidistant  spaces ; 
and  the  third,  which  furnishes  pale  outlines  to  be  re¬ 
traced  with  ink — a  mode  much  practised  in  Germany 
both  for  writing  and  drawing,  especially  by  means  of 
copies  placed  underneath  ground  glass,  upon  which  they 
may  be  traced. 

Beginners  who  practise  on  the  first  method,  though 
they  learn  to  define  the  length  of  their  letters,  are  apt  to 
contract  a  scrawling  hand,  which  is  certainly  prevented 
by  the  second  mode  ;  but  to  this  there  are  two  objections. 
One  is,  that  some  of  the  letters  appear  too  distant  from 
each  other,  as  m — m,  e — m,  t — r,  &c.,  whilst  others 
seem  too  close  together,  as  ed,  el,  et ,  &c.  But  the 
strongest  objection  rests  against  the  practice  of  tracing 
the  letters,  or  of  writing  on  the  ruled  lines,  as  it  may  be 
mechanically  performed  with  little  circumspection,  and 
induces  stiffness  of  manner.  Yet  it  may  be  found  pro¬ 
fitable  in  some  cases  to  examine  into  the  merits  of  all 


MANUAL  OF  WRITING. 


•n 


these  methods,  and  to  borrow  from  them  whatever  advan¬ 
tages  thoy  possess  in  assisting  the  eye  or  directing  the 

hand. 

The  practice  of  writing  between  the  oblique  ruled 
lines,  as  proposed  in  the  present  system,  for  single  cha¬ 
racters  or  a  few  together,  assuredly  gives  greater  freedom 
to  every  stroke,  and  requires  the  eye  constantly  to  judge 
of  any  deviation  in  line,  curve,  or  breadth  of  letter. 
This  or  any  other  guide  to  penmanship,  however,  should 
be  practised  only  until  the  eye  becomes  sufficiently 
familiar  with  the  requisite  proportions,  and  the  hand  can 
readily  obey  the  will.  It  is  necessary  to  write  many  copies 
between  two  ruled  horizontal  lines;  afterwards  with  only 
one,  as  a  bottom  line ;  and  finally  to  write  without  any 
lines  at  all,  as  soon  as  the  eye  can  determine  that  the 
writing  is  straight  and  the  letters  are  at  agreeable  dis¬ 
tances  and  of  sufficient  bulk. 

The  universal  practice  of  using  ruled  lines,  broad  and 
black,  placed  beneath  the  paper  to  be  written  on,  which 
guides  to  sufficient  straightness  and  equality  of  inter¬ 
vals,  proves  itself  convenient  and  agreeable,  and  is  found 
to  induce  a  habit  of  neatness  and  regularity. 

As  in  drawing,  so  in  writing,  it  is  an  error  to  com¬ 
mence  with  heavy  strokes.  Accuracy  of  form  is  best 
attained  by  light  lines  ;  and  all  the  beauties  of  hairstroke 
and  swell  can  be  afterwards  studied,  and  easily  grafted 
upon  the  true  forms.  It  is  enough  to  conquer  one  diffi¬ 
culty  at  a  time ;  nor  is  it  necessary  to  compel  delicate 
little  fingers  to  strain  in  the  formation  of  very  large  let¬ 
ters  in  copies,  the  professed  object  of  which  is  to  teach  a 
small  current  hand,  when  a  medium  size  is  sufficient  for 
their  definition. 

It  may  be  remarked,  as  advantageous  in  this  Manual, 
that  the  elegances  of  copperplates  have  not  been  employ- 
4* 


43 


MANUAL  OF  WRITING. 


ed,  which,  both  in  writing  and  drawing,  frequently  deter 
young  people  from  attempting  to  imitate  them.  Ruder 
lessons,  given  with  the  pencil  or  the  pen,  less  perfect 
though  they  may  be,  are  more  within  the  reach  of  ordi¬ 
nary  abilities.  The  object  here  is  to  teach  correct  princi¬ 
ples  and  a  good  honest  practice,  a  medium  common-sense 
course,  which  may  enable  the  student  afterwards  to 
acquire,  by  self-directed  efforts,  more  varied  refinements 
and  elaborate  excellences. 


MANUAL  OF  WRITING. 


43 


OBLIQUE  OVALS. 


These  diagrams  furnish  the  transition  from  drawing 
to  writing,  and  constitute  for  both  purposes  a  useful 
practice.  Draw  an  equilateral  triangle,  as  Fig.  1. ;  dot 
its  centre,  and  mark  on  each  side  its  middle,  quarter,  and 
eighth.  Commencing  an  eighth  from  the  top  or  apex, 
draw  on  both  the  right  and  left  sides  ovals  reaching  near 
to  the  bottom  and  approaching  the  centre.  Practice 
these  in  every  manner,  to  the  right  and  left,  up  and  down. 
On  a  similar  triangle,  as  Fig.  2.,  commence  at  a,  and 
continue  connectedly  to  b ;  then  commence  at  b,  and 
continue  to  a,  till  the  glance  of  the  eye  becomes  correct, 
and  the  hand  both  accurate  and  free. 

The  obliquity  of  line  which  is  found  in  the  side  of  an 
equi-lateral  triangle  being  the  most  agreeable  to  the 
eye  in  the  slope  of  writing,  will  render  the  oval  drawn 
upon  it  the  best  practice  for  that  elementary  character 
— positively  in  a,  d,  g,  o,  and  q ,  and  approximating  in  b, 
c,  e,  h,  p,  -y,  and  w. 

The  practice  in  Fig.  2,  of  drawing  curves  from  c  to  b , 
will  result  in  acquiring  facility  in  executing  one  of  the 

most  difficult  letters  of  the  alphabet,  i-2^;  taking  notice 

that  the  upper  portion  of  the  curve  may  be  varied  into 
greater  breadth  or  amplitude.  It  is  deemed  essential  to 
beauty  in  writing  to  give  an  oval  form  in  the  various 
directions  of  curves,  rather  than  the  formality  of  a 
circle. 


44 


MANUAL  OF  WRITING. 


SLOPING  CURVES. 


The  slope  of  these  figures  is  determined  by  the  side 
of  an  equilateral  triangle,  of  which  Fig.  3  is  a  section, 
or  one  half.  The  angle  thus  obtained  is  of  60  degrees, 
and  will  regulate  the  direction  of  all  the  stems,  as  they 
are  called,  in  writing,  as  well  as  the  slope  of  the  letters  ; 
only  deviating  a  little  in  some  of  them  for  the  purpose 
of  obtaining  beauty  or  grace,  as  in  Fig.  1  and  2.  Fig.  1, 
constitutes  an  essential  line  in  fourteen  of  the  capitals,  as 


— eleven  of  them  commencing  at  the  top,  and  the  three 
last  named  at  the  bottom,  which  may  be  more  or  less 
curved,  and  commence  or  terminate  with  a  dot,  as  at  a, 
Fig.  1.  The  greater  curve  of  Fig.  2.  is  the  simplest  form, 
after  the  straight  backs,  of  B,  JR ,  and  P ;  the  other  portions 
being  founded  on  the  elementary  forms,  as  indicated  in 
the  perpendicular  line  of  Fig.  3  ;  from  which  such  devia¬ 
tions  can  be  subsequently  made  in  practice  as  may  be 
suggested  by  taste. 


MANUAL  OF  WRITING. 


45 


In  practising  from  these  figures,  it  is  recommended  to 
draw  them  backwards  and  forwards,  until  an  equal  ac¬ 
curacy,  facility,  and  fluency,  be  acquired.  Accuracy  in 
drawing  may  be  obtained  by  repeated  corrections,  but 
fluency  is  most  essential  in  writing. 


46 


MANUAL  OF  WRITING. 


ELEMENTARY  FORMS  IN  WRITING. 


The  student  of  drawing,  who  has  sufficiently  practised 
straight  and  curved  lines,  will  find  no  difficulty  in  ma¬ 
king  them  for  the  purposes  of  writing,  and  on  any  slope 
that  may  be  desired.  He  has  learned  to  make  lines 
parallel  to  each  other,  and  can  imitate  any  curve,  accord¬ 
ing  to  the  bow  which  it  forms,  or  the  direction  of  its 
quantity  and  its  proportions  within  an  angle.  But  the 
mere  beginner  at  writing,  without  this  preliminary  in¬ 
struction,  is  obliged  to  labour  assiduously  in  acquiring 
the  habit  of  executing  these  elementary  parts,  with  the 
proper  slope,  one  by  one,  before  attempting  to  combine 
them  into  letters  and  words.  The  elementary  forms 
are  here  given,  in  accordance  with  the  system  of  draw¬ 
ing  ;  the  straight  strokes  being  guided  by  parallelism, 
and  the  curves,  as  segments  of  circles  and  ovals,  crossing 
and  governed  by  ruled  oblique  lines  in  the  requisite 
angle. 


MANUAL  OP  WRITING. 


47 


MANUAL  OF  WRITING. 


49 


MANUAL  OF  WRITING. 


5E 


CLASSIFICATION  OF  THE  SMALL  ALPHABET. 


The  whole  alphabet,  except  the  capitals,  may  be 
classed  under  five  sections  ;  the  first  composed  of  lines 
most  easily  executed,  as  i ,  n,  m ,  u,  t,  which  may  be  prac¬ 
tised  in  their  parts  and  entire  ;  the  second,  consisting 
of  those  letters  which  are  defined  by  the  oval,  as  o,  a ,  d, 
g ,  q,  e,  and  c  ;  the  third  of  h,  y ,  k,  p ,  l,  f  and  r  ;  the 
fourth  of  v ,  b,  and  w,  in  which  the  lower  part  of  b  and 
latter  part  of  to,  are  the  same  as  v,  and  approaching  the 
o  ;  and  the  fifth,  of  x ,  z,  f,  and  s,  the  most  irregular 
of  all. 

According  to  our  principle  in  drawing,  the  ovals,  or  o , 
are  to  be  written  over  the  oblique  line,  which  will  thus 
cross  them  through  their  centres  ;  the  straight  or  nearly 
straight  strokes  will  be  drawn  between  the  ruled  oblique 
lines,  and  the  curved  portions  crossing  them  ;  except  the 
narrow  tops  and  bottoms  of  li,  y,  &c. 

This  mode  of  ruling  to  guide  the  writer  in  practising 
to  form  single  letters,  is  founded  upon  the  principles  in 
drawing  which  relate  to  parallels  and  the  bows  of  ovals 
and  curves.  Those  strokes  which  deviate  from  exact 
regularity  are  easily  distinguished  in  their  characteristics 
by  means  of  the  lines  which  pass  through  them,  or  be¬ 
tween  which  they  pass  ;  not  only  showing  the  right  di¬ 
rection  in  which  they  should  run,  but  producing  forms 
of  spaces,  or  intervals,  the  shapes  and  proportions  of 
which  assist  the  eye  in  judging  of  their  accuracy. 


52 


MANUAL  OF  WRITING. 


COMBINATION  OF  ELEMENTARY  FORMS. 

t 


The  regularly  instructed  student  of  drawing  may  ra¬ 
pidly  proceed  through  the  most  difficult  combinations  of 
letters  and  words,  to  acquire  the  necessary  facility  of  exe¬ 
cution.  But  the  uninitiated  writer  will  find  it  necessary 
to  advance  with  more  limited  views,  in  first  practising 
words  which  require  only  the  simplest  strokes  ;  as  in , 
urn,  nut ,  tun ,  man ,  &c.  gradually  proceeding  to  those 
which  are  usually  found  in  the  copperplate  copies  pub¬ 
lished  for  the  use  of  schools  ;  as  altitude ,  built ,  acute , 
commune ,  educated ,  <fcc.  thence  to  sentences  comprising 
every  variety  and  combination  of  characters.  It  is 
deemed  unnecessary  to  swell  with  them  this  manual, 
which  proposes  only  to  teach  the  first  principles.  The 
words  lamp,  first ,  crofs ,  yoke ,  dozen ,  bright ,  wax, 
and  pique,  comprise  nearly  all  the  essential  characters, 
exclusive  of  capitals  ;  and  other  words  will  be  found  to 
require  but  little  variation.  The  practice  of  the  o  can¬ 
not  be  too  often  repeated.  It  will  be  here  perceived  that 
in  combining  letters  into  words,  the  measure  of  the  letters 
cannot  be  uniformly  restricted  to  equidistant  spaces, 
which  may  serve,  however,  as  guides  in  the  preliminary 
practice. 


MANUAL  OP  WRITING. 


S3 


PROPORTION  AND  CURVE. 


This  diagram  is  intended  to  show  the  application  of 
one  of  our  principles  in  drawing — the  direction  of  the 
quantities— to  the  attainment  of  a  certain  grace  in  wri¬ 
ting.  Instead  of  rounding  the  tops  in  exact  symmetry 
on  each  side  of  the  lines  which  guide  the  slope  of  the 
bodies  of  the  letters,  the  hair  stroke  commences  in  the 
direction  of,  or  parallel  with,  the  oblique  line  b  ;  between 
which  and  the  general  guide  lines  will  be  found  the  di¬ 
rection  of  the  quantity  or  bulk  of  the  curved  members,  as 
indicated  by  the  lines  a — which  are  more  oblique  than 
the  guide  lines  c.  This  variation,  carried  to  excess,  con¬ 
stitutes  the  angular  style. 

It  is  further  intended  to  show  the  impossibility  of  sub¬ 
jecting  all  the  letters  of  the  alphabet  to  one  measure  of 
breadth :  for  here  we  have  begun  the  i  between  two  of 
the  guide  lines,  and  the  n  commences  on  the  second  line 
following,  allowing  only  a  space  and  a  half  for  both,  in¬ 
stead  of  two  spaces,  as  in  some  elementary  books.  This 
observation  applies  to  all  cases  of  intermediate  hair  strokes. 
It  will  be  observed,  also,  that  the  a  is  wider  than  one 
space,  by  half  the  thickness  of  its  back  line.  A  similar 
increase  of  breadth  is  requisite  in  d,g,  q ,  as  well  as  e  and 
c.  To  prove  this,  make  a  d,  and  then  alter  its  oval  into 
5 


C4 


MANUAL  OF  WRITING. 


an  e  or  c,  making  et,  el,  or  ct,  cl ;  it  will  be  perceived  that 
they  are  too  crowded,  and  want  room  to  breathe  between. 
No  guide  lines  can  be  devised  to  suit  indiscriminately  the 
whole  alphabet,  but  they  may  be  used  to  regulate  and 
define  their  various  proportions,  according  to  the  best 
examples  and  good  taste.  They  are  chiefly  useful  in  fa¬ 
shioning  one  or  two  letters  at  a  time,  whether  according  to 
this  plan  or  any  other,  and  should  be  dispensed  with  in 
the  practice  of  joining-hand  copies  ;  in  which  the  eye 
should  require  such  bulks  and  spaces  as  may  agreeably 
accord  with  the  characters  of  the  letters  that  happen  to 
come  together,  without  any  crowding  or  scattering  ap¬ 
pearance. 


manual  of  writing. 


55 


t 


. 

'  ■  " 


. 


57 


FANTFAL  OF  WRITING. 


MANUAL  OF  WRITING. 


59 


manual  of  writing. 


61 


CAPITALS. 


The  method  here  employed  to  exhibit  the  character¬ 
istic  features  of  such  simple  capitals  as  are  most  easily 
made  in  writing,  is  founded  on  the  employment  of  the 
same  oblique  ruled,  or  guide  lines,  as  in  the  page  of  the 
small  alphabet,  according  to  the  principles  of  drawing ; 
the  straight,  or  somewhat  straight  strokes,  being  made  be¬ 
tween  the  lines — the  curves  crossing  them.  The  curves 
are  thus  divided  into  sections,  whose  proportions  can 
more  easily  be  defined  than  if  made  on  plain  paper,  until 
the  eye  and  hand  become  sufficiently  initiated  to  execute 
them  without  such  a  guide,  and  even  to  indulge  in  some 
graceful  variations.  The  copperplate  copy  books  will 
furnish  a  variety  of  other  capitals,  of  more  or  less  beauty 
of  form  and  difficulty  of  execution,  which  the  writer 
may  be  tempted  sometimes  to  employ  at  the  commence¬ 
ment  of  a  paragraph  ;  but  the  letters  here  exhibited  are 
simple,  neat,  and  easily  executed — which  are  the  most 
important  requisites  in.  writing.  Additional  lines  are 
drawn  through  and  5^,  to  indicate  the  direction  of 
their  peculiar  curves,  which  may  be  varied  at  pleasure. 

Yet  it  is  proper  to  caution  the  young  and  fanciful 
practitioner  against  indulging  in  needless  embellishments, 
to  disturb  the  simplicity  of  writing,  and  prevent  its  being 
read  ;  consuming  time  that  would  be  better  bestowed  on 
the  more  careful  formation  of  some  letters,  which,  it  too 
hastily  made,  must  be  inaccurate  or  illegible.  Since  the 
great  purpose  of  writing  is  to  be  understood,  simplicity 
of  form,  with  certainty  and  facility  of  execution,  are  more 


62 


MANUAL  OP  WRITING. 


desirable  than  curious  and  bewildering  flourishes ;  yet 
every  elegance  in  the  fashions  of  writing  may  be  ulti¬ 
mately  cultivated  by  those  who  have  a  fancy  for  such 
refinements.  It  appears,  therefore,  to  be  of  primary 
importance  in  seeking  the  power  and  advantages  of  wri¬ 
ting.  to  divest  it  of  all  needless  incumbrances,  to  articulate 
every  letter  distinctly — and,  as  in  music,  to  understand 
the  air  before  attempting  any  variations. 


MANUAL  OF  WRITING. 


63 


MANUAL  OF  WRITING. 


65 


MANUAL  OP  WRITING. 


67 


T3 


. > 


-  ■  • 

- 


>■ 


»•  ,  '•'vV'lCTi 


r  ' 


'  • 


I 


HAKXTAL  OF  WRItlNO. 


69 


' 

' 

■  N 


' 


#  . 


' 


9 


MANUAL  OF  WRITING. 


71 


COPIES  FOR  PRACTICE. 


Twenty-four  copies  are  here  given,  commencing  with 
the  most  easily  formed  capitals,  and  written  in  the  man¬ 
ner  of  small  hand,  for  which  it  is  preparatory.  The 
course  which  is  usually  pursued  in  learning  to  write, 
enjoining  the  absolute  necessity,  undeviatingly  .from  the 
first  stroke  to  the  last,  of  giving  the  exact  swell  and  hair 
stroke  to  every  letter,  greatly  retards  the  progress  of  the 
learner,  whose  first  and  chief  attention  should  be  directed 
to  the  forms  and  proportions  of  letters.  Besides,  as  every 
person’s  experience  shows,  the  regular  and  alternate  suc¬ 
cession  of  hairstroke  and  swell,  which  has  been  acquired 
with  so  much  labour  at  the  copy-book,  is  almost  entirely 
incompatible  with  that  facility  which  the  business  of  life 
requires  ;  and  the  rapidity,  which  is  often  subsequently 
practised,  is  attained  by  abstaining  from  the  effort  to 
swell,  except  in  a  few  letters,  which  serve  to  give  some 
force  and  effect  to  the  page.  Is  it  not  reasonable,  there¬ 
fore,  so  to  instruct  the  writer,  that  he  shall  have  nothing 
to  unlearn  ?  And  to  obtain  the  essential  use  of  writing 
before  any  attempts  be  made  at  the  embellishment  of  it? 
The  style  of  writing  which  is  taught  in  large  hand  copies, 
is  seldom  wanted,  and  may  much  more  easily  be  learned 
after  the  student  is  able  to  draw  the  letters  correctly,  and 
write  them  fluently  ;  which  depends  less  upon  the  mo¬ 
tion  of  the  joints  of  the  fingers  and  thumb,  than  upon  that 
of  the  wrist  and  elbow,  with  an  occasional  exception. 


72 


MANUAL  OF  WRITING. 


It  is  of  great  importance  to  contract  a  habit  of  writing 
capitals  in  the  most  simple  manner,  and  to  define  them 
neatly  and  clearly.  22,  977  and  77,  are  often 

preferred  to  the  more  elaborate  <^2,  *s22,  and  t27, 
which  may  be  reserved  for  the  display  of  some  commen¬ 
cing  paragraphs.  When  the  lower  curves  of  ^  and  77, 
are  continued  into  the  following  letter,  it  will  be  found  to  be 
conducive  to  neatness  and  despatch.  ^  by  terminating 
straight,  with  its  peculiar  central  mark,  which  connects 
with  the  following  letter,  may  be  distinguished  from  2/, 
which  cannot  be  so  connected. 

As  a  general  rule,  2,2  and  2  should  be  made  with 

curved  tops,  but  e/and  2  with  straight  stems  or  backs  ; 


and  if  the  descending 


stroke  of 


terminate  without 


curve,  it  can  never  be  mistaken  for  long  f ;  besides, 

^2  and  l  require  to  be  crossed ;  which  is  more  neatly 
done  after  a  straight  termination,  with  some  exceptions, 
depending  on  the  succeeding  letter,  as  €e,  fo. 

In  writing  fast,  it  is  needless  to  commence  the  backs  of 
a,  and so  high  as  in  a  formal  copy,  but  from  the 
terminating  side  of  the  o  ;  nor  is  it  necessary  that  the 
o,  so  often  required,  should  be  carefully  rounded  at  the 
top,  as  the  hair  stroke  from  the  preceding  letter  may  often 
pass  directly  to  the  top,  which  may  there  commence  and 
terminate,  and  thence  pass  to  the  next  letter,  leaving  the 
27  necessarily  pointed.  Indeed,  it  is  impossible  to  write 
fast  without  forming  the  letters  somewhat  sharp  at  the  top 
and  bottom,  producing  more  compactness,  and  requiring 
a  sensible  stopping  for  the  return  stroke,  until  great  prac- 


MANUAL  OF  WRITING. 


73 


tice  may  enable  the  writer  to  measure  out  the  words  in  a 
rapid  and  steady  stream.  In  writing  fast,  the  a  is  often 
formed  continuously  from  the  preceding  letter,  like  an  e . 
with  a  back  to  it.  It  is  well  to  practise  this  neatly,  for 
the  sake  of  fluency,  though  it  is  certainly  handsomer 
when  more  deliberately  and  distinctly  written. 

Many  persons  contract  a  vicious  habit  of  making  their 
letters  unconnected.  This  limping  gait  should  be  coun¬ 
teracted  by  an  especial  practice  of  the  contrary,  at  mo¬ 
ments  when  nothing  but  this  circumstance  may  occupy 
the  attention.  So,  also,  in  order  to  correct  the  hand  from 
any  tendency  to  what  is  called  a  scrawl,  it  will  be  found 
advantageous  to  write,  with  one  continuous  light  stroke, 
words  with  letters  as  long  as  large  hand,  but  narrow  as 
the  smallest,  viz.: 


This  will  be  found  to  give  fluency,  parallelism,  and 
lightness,  as  well  as  condensation.  Further,  to  correct  a 
carelessness  which  frequently  arises  from  a  sensation  of 
impatience,  it  is  recommended  to  practise  a  distinct  hand, 
either  perfectly  perpendicular,  or  leaning  a  little  but  not 
too  much  back,  as  \y^  waAWlU^  do\N  U  YuW,  cl  babll 
of  stooping  ma^  be  corrected.  This  manner 
of  writing  requires  a  deliberate  articulation,  and  has  been 
found  effectual  in  curing  or  preventing  irregularity  and 
indistinctness,  and  in  giving  facility  in  whatever  style  of 
writing  is  to  become  the  instrument  of  daily  use. 


74 


MANUAL  OF  WRITING. 


Although  facility  and  be  gained  only  by  practice - yet 

to  practise  carelessly  or  incorrectly  is  to  labour  in  obtain¬ 
ing  bad  habits.  Every  repetition  of  a  line  or  copy  should 
be  made  with  the  spirit  and  resolution  to  perform  it  bet¬ 
ter,  or  it  should  not  be  done  at  all.  It  is  therefore  seldom 
advisable  to  write  at  one  sitting  more  than  two  or  three 
lines  of  the  same  copy.  The  custom  of  filling  up  a  page 
with  one  dull  theme,  always  proves  itself  to  be  injurious  or 
useless,  when  the  last  lines  are  worse  than  the  first  or 
second — which  is  generally  the  case. 

Having  introduced  the  system  of  writing  as  connected 
with  drawing,  at  a  time  when  the  learner  was  best 
prepared  for  it ;  and  having  explained  its  principles  in 
the  most  simple  manner,  the  lessons  of  drawing  may 
now  be  resumed ;  during  the  progress  of  which,  the 
student  of  writing  may,  if  desirable,  cultivate  a  more 
ornamental  style  with  greater  facility  and  certainty  of 
success. 


MANUAL  OF  DRAWING. 


IRREGULAR  CURVES  WITHIN  ANGLES. 


All  irregular  forms  may  be  circumscribed  by  angular 
lines,  which  are  supposed  to  touch  the  outer  or  inner  pro¬ 
jections  of  the  object.  Such  an  angular  figure  may  be 
imitated  larger  or  smaller,  by  supposing  the  lines  of  the 
triangles  extended  or  diminished.  Consequently,  an  imi¬ 
tation  of  the  irregular  form  may  be  drawn  within  or 
without  it ;  or  so  drawn  as  to  admit  of  a  corresponding 
arrangement  and  proportion  of  angles,  by  which  its  accu¬ 
racy  may  be  tested ;  only  taking  care  that  the  lines  of 
these  triangles,  or  any  one  as  a  guide  line,  shall  run  in 
the  same  or  parallel  direction,  by  which  the  triangles 
must  inevitably  maintain  their  relative  proportions. 


MANUAL  OF  DRAWING. 


7ti 


COMPARISON  BY  PARALLEL. 


After  practising  straight  and  curved  lines  in  all  their 
varieties  and  combinations,  it  is  desirable  to  possess  an 
infallible  rule  to  assist  our  observation  and  direct  our 
practice.  This  will  be  found  in  the  comparison  by  pa¬ 
rallel,  which  is  a  silent  but  faithful  monitor,  and  always 
at  hand.  It  is  manifest,  that  every  imitation  of  a  line, 
straight  or  curved,  in  any  direction,  must  be  made  pa¬ 
rallel  to  it,  as  a  to  b.  In  this  exercise,  the  eye  will  soon 
become  a  perfect  judge  :  the  practice  must  commence 
with  lines  drawn  closely  parallel,  proceeding  to  others 
more  distant  from  the  model,  and  finally  to  lines  obliquely 
distant ;  the  accuracy  of  which  may  be  tested  by  the 
student,  by  holding  the  copy  in  such  a  position  as  to 
make  it  parallel  with  the  original.  If,  in  seeking  such 
parallelism,  with  the  whole  or  any  part,  it  be  found  neces¬ 
sary  to  hold  the  paper  crooked,  the  copy  cannot  be  true, 
and  must  be  corrected  until  it  be  made  so  parallel  with 
the  model,  that  both  may  be  held  square  with  each  other. 


MANUAL  OF  DRAWING. 


“7 


CONTINUITY  OF  LINE. 


When  the  copy  of  any  object  is  made  upon  a  separate 
piece  of  paper,  its  accuracy  may  also  be  found  in  the 
continuity  of  line.  Hold  your  paper  square,  and  bring  it 
so  that  the  line  you  are  making,  or  a  line  drawn  through 
it,  if  it  be  supposed  to  be  extended,  would  touch  the  com¬ 
mencement  of  the  object  or  model,  and  appear  continued 
through  it  in  the  same  direction  and  to  the  same  termi¬ 
nation,  as  from  a  to  b.  This  rule  applies  equally  to 
lines  which  are  not  perfectly  straight,  by  observing  their 
general  direction ;  because  if  you  are  obliged  to  hold 
your  paper  out  of  its  perpendicular  or  horizontal  in  order 
to  bring  the  lines  to  a  perfect  continuity,  or  similar  direc¬ 
tion — the  drawing  is  false,  and  must  be  corrected.  The 
slightest  error  may  thus  be  perceived,  as  well  by  the  un¬ 
cultivated  eye  as  by  that  of  a  master,  and,  therefore,  b 
this  and  the  preceding  rule,  may  be  corrected  with  absc 
lute  certainty.  In  the  above  diagram  c  and  d  are  S 
liquely  parallel  with  each  other. 


MANUAL  OP  DRAWING. 


RELATIVE  PROPORTION. 


The  utility  of  the  comparisons  by  parallel  and  conti¬ 
nuity  of  line  is  very  obvious  in  imitating  an  oblong  ob¬ 
ject.  For,  by  supposing  a  line  drawn  from  one  corner 
obliquely  to  the  other,  or  to  any  other  portion  of  its  out¬ 
line,  you  have  only  to  imagine  lines  running  in  parallel 
directions,  and  your  copy  of  the  object,  of  whatever 
length  you  make  it,  must  necessarily  possess  the  same 
proportion  of  breadth,  which  belongs  to  the  object  to  be 
copied  ;  without  the  necessity  of  measuring  in  order  to 
ascertain  that  it  be  longer  by  a  half,  third,  &c. ;  for,  if  a 
line  drawn  in  your  copy  from  one  corner  diagonally  to 
the  other  be  found  not  to  be  parallel  with  that  of  your 
original,  or  in  exact  continuation,  then  is  the  copy  un¬ 
true  ;  the  figures  b ,  c,  and  d,  or  any  intermediate  inter¬ 
sections,  possess  the  exact  proportions  of  the  figure  a,  of 
which  e  is  a  copy  of  equal  size. 


MANUAL  OF  DRAWING. 


79 


HRECTION  OF  QUANTITIES. 


A  delicate  and  important  application  of  these  rules  is 
in  reference  to  the  direction  or  the  parallel  of  quantities. 
In  a  circle  the  quantity  is  equal  in  all  directions,  but  in 
an  oval  it  runs  in  the  direction  of  its  length,  and  the  imi¬ 
tation  must  be  made  in  the  same  direction,  as  a  and  b , 
or  the  same  parallel,  as  c  and  d.  It  will  require  very  lit¬ 
tle  practice  of  the  eye  to  acquire  sufficient  correctness  in 
imagining  a  line  to  run  midway  through  the  length  of 
any  object.  Besides,  a  middle  line  so  running  would  in¬ 
dicate  the  bows  or  quantities  of  the  curves  on  each  side, 
with  all  their  variations  of  swell  or  angularity. 

6 


80 


MANUAL  OF  DRAWING. 


ANGLE  AND  DIRECTION. 


Forms  made  or  bounded  by  lines  running  in  similar 
directions  must  necessarily  resemble  each  other  ;  and  as 
all  forms  which  may  be  comprised  within  certain  angles 
may  be  represented  within  similar  angles,  either  of  the 
same  or  smaller  or  larger  dimensions, — therefore,  whether 
a  be  copied  in  small  from  b ,  or  b  in  large  be  copied  from 
a,  their  relative  proportions  are  perceived  to  be  geome¬ 
trically  correct,  and  their  situations  to  lie  in  the  same  or 
parallel  direction. 

The  student  of  drawing  can  scarcely  decide  when  he 
is  sufficiently  instructed,  until  brought  to  the  rigid  test  of 
enlarging  or  diminishing  his  copy  ;  as  this  effectually 
calls  into  operation  all  the  rules  of  angle,  direction,  and 
proportion. 


MANUAL  OF  DRAWING. 


81 


SIMPLE  FORMS  IN  NATURE. 


The  student,  having  made  himself  acquainted  with 
the  elements  of  drawing,  and  having  familiarized  his  eye 
to  correct  perceptions,  and  his  hand  to  the  practice  of 
correct  imitations  of  the  various  figures  which  serve  to 

o 

illustrate  them  ;  and  having  attained  sufficient  facility  of 
execution,  should  now  study  to  apply  those  rules,  by 
drawing  various  forms  in  nature,  from  the  objects  them¬ 
selves  ;  commencing  with  the  most  simple,  which  consist 
of  straight  lines,  advancing  gradually  to  the  curved  and 
irregular  forms.  There  is  no  want  of  opportunity — a 
book,  tumbler,  hat,  shoe.  When  the  pencil  is  in  hand, 
it  should  never  be  unemployed ;  and  no  object  is  too  tri¬ 
fling  to  give  it  practice.  The  writer  must  scribble,  and 
the  draughtsman  sketch,  on  waste  paper — which  is  then 
not  wasted. 


92 


MANUAL  OF  DRAWING. 


PRACTICE  FROM  WELL  KNOWN  OBJECTS. 


The  advantages  of  first  drawing  regular  figures,  is 
that  the  eye  becomes  accustomed  to  the  measuring  and 
proportions  of  the  parts  ;  and  afterwards,  in  drawing  from 
irregular  objects,  can  readily  perceive  how  much  they 
deviate  from  regularity.  When  a  sufficient  practice  has 
been  obtained  in  all  the  combinations  of  straight  and  pa¬ 
rallel  lines,  triangles,  circles,  ovals,  and  curves,  with  a 
proper  application  of  all  the  rules,  until  absolute  certainty 
is  obtained ;  it  will  then  be  safe  and  proper  to  study  the 
rules  of  deviation,  especially  in  imitating  well  known  ob¬ 
jects,  which  should  be  studied  in  different  directions  and 
situations,  and  always  drawn  as  if  on  a  glass  held  be¬ 
tween  them  and  the  eye.  If  any  difficulty  be  experi¬ 
enced,  it  will  be  removed  by  having  recourse  to  the  glass 
itself,  observing  to  shut  one  eye,  in  tracing  the  figure  on 
the  glass. 


MANUAL  OF  DRAWING. 


63 


ANALYSIS  OF  IRREGULAR  FORMS. 


Students  of  drawing,  who  have  not  advanced  by  regt 
lar  gradations,  and  correctly  learned  the  elements,  find 
the  greatest  difficulty  in  drawing  such  figures  as  moun¬ 
tains,  rocks,  trees  and  animals.  This  difficulty  is  les¬ 
sened  by  resolving  those  forms  into  their  elementary 
qualities,  as  squares,  oblongs,  triangles,  and  circles,  or 
portions  of  them  ;  and  especially  by  noticing  the  sections 
of  the  irregular  curves,  explained  in  a  former  diagram, 
as  so  many  bows,  by  imagining,  or  slightly  marking  the 
strings  or  chords,  and  observing  the  shapes  of  the  swells, 
and  the  direction  of  the  straight  lines,  chords,  or  bases, 
and  the  proportion  of  the  angles.  By  the  union  of  these 
rules,  the  most  irregular  figure  may  be  represented  with 
accuracy. 


6* 


MANUAL  OF  DRAWING. 


m 


STRAIGHT  LINE  AND  DEVIATIONS. 


Even  the  human  face,  whatever  be  the  proportions  of 
its  parts,  can  be  defined  within  certain  angles,  the  length 
and  direction  of  which  constitute  the  character  of  the 
features.  Fig.  1  is  an  example  of  the  profile  consisting 
of  a  few  angular  deviations  from  a  straight  line.  Fig.  2 
is  an  example  of  one  composed  of  angular  lines,  wholly- 
deviating  from  a  straight  line. 

Angular  lines  define  the  utmost  limits  of  all  forms;  and 
not  only  restrain  the  easy  flow  of  a  curved  line  from 
trangressing  the  proper  bounds,  but  often  give  energy 
to  forms,  which  otherwise  would  be  insipid,  and  devoid 
of  character. 

Front  views  of  the  face  are  subject  to  the  same  rules, 
but  are  more  difficult  only  because  of  the  greater  number 
of  parts  to  be  compared  with  each  other  ;  which,  how¬ 
ever,  it  is  best  to  mark  off  in  angular  admeasurements  by 
the  eye,  before  rounding  them  into  their  ultimate  forms. 


MANUAL  OF  DRAWING. 


65 


APPLICATION  OF  THE  TRIANGLE.. 


The  proportions  of  the  human  face  in  profile,  may  be 
drawn  on  a  triangle,  the  perpendicular  line  of  which  must 
be  divided  into  three  parts  ;  the  upper  one  for  the  fore¬ 
head,  the  middle  space  for  the  nose,  and  the  lower  divi¬ 
sion  for  the  mouth  and  chin.  A  great  variety  of  features 
may  be  drawn  with  these  and  other  proportions,  and  the 
eye  habituated  to  the  necessary  comparisons  of  length 
and  breadth.  Many  individuals  have  some  of  these  spaces 
longer  or  shorter,  and  the  ear  higher  or  lower,  as  well  as 
the  skull  more  or  less  angular,  or  circular. 

In  all  drawings,  where  the  parts  are  numerous,  it  is 
necessary  frequently  to  compare  their  relative  propor¬ 
tions  of  length,  breadth,  or  distance,  and  especially  to  no¬ 
tice  such  points  as  are  of  equal  length,  and  the  amount 
of  variation  from  the  perpendicular  and  horizontal.. 


86 


MANUAL  OF  DRAWING. 


It  is  recommended  to  draw  from  the  human  features,  as  the 
surest,  most  pleasant,  and  useful  means  of  refining  the  taste  and 
skill.  No  straight  lines  enter  into  their  composition,  and  the 
curves,  which  can  be  referred  to  elementary  rules,  possess  the 
advantage  of  being  of  such  sensible  importance,  that  their  slight¬ 
est  deviations  must  be  observed. 

The  projection  of  the  nose  is  determined  by  its  oblique  direc¬ 
tion  a  in  reference  to  the  perpendicular  b.  The  nostril  and  its 
opening  not  only  have  their  proportionate  bulks,  but  especially 
require  attention  to  the  direction  of  their  quantities  c  and  d . 
The  depth  of  the  mouth,  also,  is  determined  by  the  perpendicu¬ 
lar  b,  the  retiring  of  the  lower  lip,  by  the  oblique  line  a.  The  pro 
portion  and  opening  of  the  lips  by  the  triangle  from  their  corner 
which,  by  the  rules  previously  studied,  exhibits  the  direction  o 
their  quantities,  c  and  d,  and  the  irregular  bows  on  either  side. 


MANUAL  OF  DRAWING. 


87 


FEATURES. 


By  means  of  the  perpendicular  and  horizontal  lines, 
which  are  dotted  in  Fig.  1,  it  will  be  easy  to  mark  the 
projection  of  the  lids  and  curvature  of  the  iris.  The 
height  of  the  outer  corner  of  the  eye  varies  in  different 
individuals — in  this  it  is  below  the  centre.  It  will  be 
observed  in  Fig.  2.  that  the  bow  above  the  horizontal  line 
swells  most  towards  the  inner  corner,  and  the  bow  of  the 
lower  lid  swells  most  towards  the  outer  corner ;  which 
is  most  generally  the  case.  Young  artists  are  apt  to 
delineate  the  eyes  with  the  upper  and  lower  lids  as  two 
regular  bows  sharp  at  each  comer,  which  makes  them 
cat-like. 


88 


MANUAL  OP  DRAWING. 


FEATURES. 


The  Ear  exhibits  a  greater  variety  of  curved  lines 
than  any  other  feature,  and  therefore  furnishes  a  good 
example  for  the  application  of  the  principal  rules  ;  its 
oblong  proportion,  showing  deviations  from  the  perpen¬ 
dicular  and  horizontal  lines  ;  and  its  directions  of  quan¬ 
tities,  involving  all  that  relates  to  angle,  oval,  and  bow ; 
which  it  is  needless  to  repeat  here. 

There  is  often  great  beauty  in  the  ear,  depending  on 
the  flow  of  its  lines  and  the  proportion  of  its  parts.  It  is 
therefore  an  excellent  object  to  study  from  nature,  espe¬ 
cially  as  it  does  not  embarrass  the  student  by  a  change  of 
expression. 


Manual  op  drawing. 


8$ 


SITUATION  BY  SIMILARITY  OP  ANGLES. 


The  same  rules  which  relate  to  the  parts  of  one  object  will  ap¬ 
ply  to  the  situation  of  different  objects,  whose  distance  and  rela¬ 
tive  height  may,  with  similar  accuracy,  be  defined  by  angles. 
This  is  most  evident  when  the  objects  are  already  drawn  on 
paper;  but  when  they  constitute  a  view  in  nature,  by  imagining 
a  plane  or  sheet  of  glass,  placed  parallel  with  the  eyes,  between 
them  and  the  object,  it  will  readily  appear,  by  looking  through 
one  eye,  that  on  this  plane  triangles  may  be  drawn,  connecting 
any  given  points  in  the  scene  ;  in  the  imitation  of  which,  by  the 
proportions  of  similar  triangles,  the  distances  between  the  objects 
to  be  represented  may  be  accurately  defined. 

It  must  be  now  clearly  established,  that  any  three  points  on 
paper,  or  in  a  natural  view,  by  supposing  them  to  be  the  points 
of  triangles,  may  be  imitated  by  making  three  similar  points, 
necessarily  producing  a  similarity  of  position  in  those  points;  be¬ 
ing  the  tops,  bottoms,  centres,  or  corners  of  objects.  From  any 
two  of  these  points  already  ascertained,  another  may  be  selected 
for  some  other  object,  and  so  on  to  the  greatest  number  of  parts. 
And  these  may  be  drawn  of  any  size,  because  their  relative  pro¬ 
portions  are  always  accurately  defined  by  the  direction  in  which 
the  lines  appear  to  run  between  each  part  and  every  other  part. 


90 


MANUAL  OF  DRAWING. 


COMPLEX  FORMS. 


Complex  figures  only  require  a  repetition  of  the  rules 
which  relate  to  general  proportions,  extending  their  ap¬ 
plication  to  minute  parts.  The  horizontal  and  perpen¬ 
dicular  lines  which  cross  the  above  hand,  will  go  far  in 
assisting  the  copyist ;  but  if  to  these  guides  be  added 
those  afforded  by  the  oblique  lines,  to  mark  the  direction 
of  the  quantities,  he  not  only  obtains  other  angles  to  go¬ 
vern  him,  but  lines  by  which  to  compute  the  nature  of 
the  curves  on  either  side  of  them.  In  every  effort  of 
drawing,  it  is  essential  to  make  frequent  use  of  the  per¬ 
pendicular  and  horizontal  comparisons, — as  in  the  figure 
before  us,  a  perpendicular  line  being  supposed  to  rise 
from  the  point  of  the  little  finger,  will  be  found  to  ap¬ 
proach  the  thumb ;  and  a  horizontal  line  passing  from 
the  upper  extremity  of  the  forefinger  will  be  a  little  above 
the  point  of  the  thumb.  If  every  part  of  a  drawing  be 
thus  tested  by  means  of  perpendicular  and  horizontal 
lines,  parallels  of  direction  and  curvature  of  bows,  with 
the  true  angles  of  their  chords, — it  is  impossible  that  it 
should  be  incorrect,  without  the  aid  of  a  master’s  eye  to 
pronounce  a  judgment. 


MANUAL  OF  DRAWING. 


9) 


CENTRE  OF  MOTION  AND  DIRECTION. 


Nothing  can  more  pleasantly  show  the  importance  of 
attending  to  the  direction  of  quantities,  than  the  character 
of  action  and  proportion  possessed  by  the  few  lines  in 
such  ideas  of  figures  as  the  above.  These  are  not  out¬ 
lines,  but  centres  of  motion  and  direction  ;  nor  are  they 
skeletons,  as  the  bones  are  seldom  at  the  centre  of  a 
limb.  No  human  figure,  nor  that  of  any  animal,  can  be 
accurately  represented,  no  matter  how  beautiful  the  out¬ 
lines  are  that  may  be  drawn,  unless  the  centre  of  motion 
at  the  joints,  and  the  direction  of  the  head  and  limbs,  be 
indicated  with  correctness  and  character. 

7 


MANUAL  OF  DRAWING. 


92 


PERSPECTIVE. 


For  the  purpose  of  drawing  on  a  plain  surface  the  ap¬ 
pearance  of  objects  which  exhibit  more  than  one  side, 
and  to  represent  those  which  are  at  a  distance,  it  is  neces¬ 
sary  to  know  some  of  the  rules  of  perspective.  The  first 
and  simplest  idea  of  it  is  conveyed  in  a  diagram  to  show 
how  the  staves  of  a  bucket,  or  the  flirtings  of  a  column 
appear  to  diminish  in  breadth  as  they  become  oblique  to 
the  eye.  The  ground  plan  of  the  bucket  a,  having  the 
staves  marked  of  equal  width,  parallel  lines  drawn  from 
them  to  the  elevation  b  will  necessarily  represent  the 
staves  with  the  respective  dimensions,  apparently  di¬ 
minishing  at  the  sides. 


MANUAL  OF  DRAWING. 


93 


PERSPECTIVE. 


The  nature  of  Perspective  may  be  made  evident  by 
observing  buildings  through  a  window  or  pane  of  glass. 
Shut  one  eye,  hold  the  head  as  still  as  possible,  and  with 
the  finger  at  arm’s  length,  touching  the  glass,  point  to  all 
the  principal  parts.  It  will  be  found  that  the  lines  of 
planes  exactly  in  front  are  horizontal  and  parallel ; 
whereas  those  which  run,  from  the  right  or  left  of  the 
spectator,  in  the  direction  in  which  he  looks, — buildings, 
fences,  pavements,  &c.  seem  to  converge  towards  a  centre 
in  the  horizon  opposite  and  as  high  as  the  observer’s  eye, 
which  is  called  the  point  of  sight  a.  The  point  of  dis¬ 
tance  b  determines  depths  by  lines  intersecting  those  to 
the  point  of  sight  from  the  measurements  on  the  front 
base  or  horizontal  line.  Perspective  instruments  are 
constructed  on  this  principle  : — a  sheet  of  glass  is  thinly 
coated  with  gum  water,  having  a  little  sugar  in  it,  upon 
which  the  scene  may  be  traced  with  black  crayon  ;  the 
eye  being  stationary  by  means  of  a  small  hole,  which 
may  be  adjusted  to  different  distances.  Other  rules  of 
perspective  may  be  learned  from  the  Treatises. 


34 


MANUAL  OP  DRAWING. 


STUDY  OP  THE  EGG. 


For  the  purpose  of  advancing  a  step  in  the  knowledge 
of  rotundity  and  perspective,  as  they  affect  the  appear¬ 
ance  of  the  human  head,  it  is  recommended  to  mark  the 
features  on  a  hard  boiled  Egg — a  raw  one  might  give 
unnecessary  trouble.  Draw  a  line  lengthwise,  then  cross 
lines  for  the  eyebrows,  eyes,  nose,  ear,  mouth,  and  chin. 
On  these  lines  the  general  forms  of  the  features  may  be 
drawn.  Oblique  views  of  these  convey  good  general 
ideas  of  their  relative  places  on  a  surface  so  unlike  a 
plane,  and  somewhat  resembling  the  human  head,  with¬ 
out  any  phrenological  development— remembering  to 
make  all  due  allowance  for  the  projection  of  the  nose  and 
other  features,  of  which  the  Egg  can  only  exhibit  a  me 
dium  base. 


MANUAL  OF  DRAWING. 


95 


PERSPECTIVE  OF  THE  EGG. 


The  chief  service  to  be  derived  from  the  Egg,  having 
features  marked  as  before  directed,  is  to  explain  the  gene¬ 
ral  principle  of  perspective  obliquity.  This  is  not  so 
much  a  model  to  be  imitated,  as  a  simple  demonstration 
to  show  how  the  straight  lines,  upon  which  the  features 
are  drawn,  become  curves  either  upward  or  downward, 
as  the  face  is  to  be  represented  looking  up  or  down  and 
more  or  less  sidewise.  In  drawing  from  the  living  face, 
every  deviation  from  the  insipidity  of  the  mere  egg-shape 
must  be  duly  noticed  and  marked,  especially  the  humani¬ 
zing  projections  of  the  chin  and  nose. 


96 


MANUAL  OF  DRAWING. 


SHADING. 


Daring  the  frequent  attempts  which  the  young  Student 
by  this  time  has  made  in  drawing  from  artificial  and 
natural  objects,  he  must  have  remarked  the  various 
effects  of  shadows,  by  means  of  which  protuberance, 
flatness,  and  concavity,  are  characterized.  An  even  shade 
is  produced  by  lines  more  or  less  fine,  drawn  parallel,  or 
nearly  so,  to  each  other,  as  Fig.  1.  This  shade  is  deep¬ 
ened  by  other  lines  crossing  them  obliquely,  as  Fig.  2, 
and  still  deeper  by  others,  as  Fig.  3.  These,  however, 
are  coarse  and  obvious  examples  of  the  principle.  Finer 
and  closer  lines,  drawn  with  pencil  or  pen,  may  produce 
shades  of  softer  gradations.  Rounded  objects  are  repre¬ 
sented  by  employing  the  same  process  in  proportion  as 
the  surface  recedes  from  the  light — observing  that  gene¬ 
rally  the  dark  side  is  partially  illuminated  by  light  reflect¬ 
ed  from  some  neighbouring  source.  Shadows  have  their 
centres,  directions,  angles,  and  curves,  as  well  as  length 
and  breadth,  expressive  of  the  forms  by  which  they  are 
influenced,  and  the  reflections  by  which  their  intensity  is 
lessened  ;  each  reflected  li^ht  producing  its  own  system 
of  shadows  within  the  general  shade. 


NOTICES  OF  THIS  WORK. 


ALBANY  ACADEMY. 

At  a  meeting  of  the  Trustees  of  the  Albany  Academy 
held  April  11th,  1835,  it  was 

Resolved,  “  That  Mr.  Rembrandt  Peale’s  Book,  entitled 
c  Graphics,’  be  introduced  as  a  text  book  in  the  Albany 
Academy.” 

D.  Romeyn  Beck. 


SAMUEL  F.  B.  MORSE, 

President  of  the  National  Academy  of  Design. 

“  Your  views  of  Drawing  are  philosophical,  and  your 
speculations  evidently  the  result  of  an  experienced  and 
well-taught  mind.  The  Graphics  supply  a  most  im¬ 
portant  place  (hitherto  not  filled)  in  youthful  education, 
and  I  cannot  but  think  it  will  be  extensively  popular.” 


JAMES  KENT, 

Ex-Chancellor  of  New- York. 

«  It  is  executed  with  skill  and  judgment,  is  clear  and 
accurate  in  thought  and  expression,  and  is  so  condensed 
as  to  be  evidence  of  much  labour  and  reflection.”  “  The 
principles  are  so  simple  and  elementary,  that  they  can 
be  readily  understood  ;  and  I  do  not  hesitate  to  add  my 
testimony  in  favour  of  its  use  and  value” 


2 


RECOMMENDATORY  NOTICES. 


THOMAS  SULLY, 

Portrait  Painter. 

“I  have  carefully  examined  your  little  treatise  on 
Drawing  and  Writing,  and  find  it  an  excellent  compen¬ 
dium  of  the  elementary  principles  of  each.”  “  I  hope 
your  little  work  will  introduce  the  plan  of  making  Draw¬ 
ing  a  component  part  of  education  in  all  our  schools.” 


CHARLES  ANTHON, 

Rector  of  Columbia  College ,  New-  York. 

“  I  am  so  much  pleased  with  it,  that  it  is  my  intention 
to  promote,  in  every  possible  way,  its  extensive  use  in 
our  Seminaries  of  Instruction.” 


JOSEPH  HOPKINSON, 

President  of  the  Pennsylvanian  Academy  of  Fine  Arts. 

“  I  commend  much  its  perspicuity,  and  the  intelligible 
manner  in  which  you  have  explained  things  that  I  thinlt 
are  very  difficult  of  explanation.  Your  principles  seem 
to  me  to  be  correct,  and  the  more  valuable  for  their 
simplicity.” 


DAVID  HOSACK,  M.  D. 

“I  cannot  but  believe  that  your  analysis  of  Writing 
and  Drawing  is  calculated  to  prove  useful  in  advancing 
and  facilitating  those  branches  of  education.” 


JOSIAH  Q.UINCY, 

President  of  Harvard  College. 

“  Of  the  merits  of  your  work  I  speak  after  the  lan¬ 
guage  of  those  whose  judgments  concerning  your  art 


RECOMMENDATORY  NOTICES. 


3 


and  design  are  better  than  mine — they  are  approved,  and 
it  will,  I  doubt  not,  be  useful.  The  humility  of  its  pre¬ 
tensions  will  be  no  impediment  to  its  success.” 


MISS  E.  LESLIE. 

“We  may  look  forward  to  the  time,  which  we  trust  is 
not  far  distant,  when  the  elements  of  Drawing  will  be 
taught,  in  every  school,  and  considered  as  indispensable 
to  education  as  a  knowledge  of  writing.  It  has  long 
been  our  belief  that  any  child  may  (with  proper  instruc¬ 
tion)  be  made  to  draw,  as  easily  as  any  child  may  be 
made  to  write.  We  are  rejoiced  to  find  that  so  distin¬ 
guished  an  artist  as  Rembrandt  Peale  has  avowed  the 
same  opinion,  in  giving  to  the  world  his  invaluable  little 
work  on  Graphics  ;  in  which  he  has  clearly  demonstrated 
the  affinity  between  drawing  and  writing,  and  admirably 
exemplified  the  leading  principles  of  both.” 


UNITED  STATES  GAZETTE. 

“There  has  been  no  initiatory  volume  prepared  for 
the  pupil  in  drawing  that  may  claim  any  comparison 
with  it.  Indeed  we  think  that  one  hour  a  day  devoted 
to  this  book,  by  any  child  of  good  capacity,  would  in  the 
course  of  a  few  months  insure  a  better  idea  of  drawing, 
than  has  usually  been  obtained  in  whole  years  of  com¬ 
mon  practice.  We  regard  drawing  not  merely  as  a  me¬ 
chanical  acquirement,  but  as  the  means  of  correcting  the 
judgment  upon  visible  objects,  and  teaching  the  eye  to 
scan  correctly  the  form,  and  judge  of  the  proportion  of 
parts.” 


NEW-YORK  MIRROR. 

“  Peale’s  Graphics. — It  is  a  Manual,  or  collection 
of  simple  rules  and  hints  for  the  use  of  those  who  would 


4 


RECOMMENDATORY  NOTICES. 


learn  to  draw  or  write,  and  the  suggestions  really  seem  to 
have  a  great  deal  of  sense  in  them.  We  have  never  even 
thought  of  attempting  the  first  of  these  two  arts,  hut  Mr. 
Peale  has  almost  persuaded  us  to  begin,  his  system  ap¬ 
pears  to  be  so  natural  and  simple.  The  root  of  his 
theory  is,  that  drawing  and  writing  are  but  different  ap¬ 
plications  of  the  self-same  principles,  and  that  every  one 
who  can  use  a  pen,  may  also  use  a  pencil.  The  princi¬ 
ples  common  to  both  modes  of  delineation  are  briefly,  yet 
clearly  explained ;  and  rules  of  practice  are  laid  down 
which  we  can  readily  believe  to  be  judicious  and  ef¬ 
fectual.” 


LITERARY  GAZETTE. 

“  Without  going  so  far  as  to  say  that  the  author  of  the 
little  work  before  us  has  fully  supplied  the  required 
desideratum ,  we  think  it  due  to  him  to  observe  that 
there  is  considerable  force  in  the  arguments  used  by  him, 
and  if  experience  should  confirm  his  theory  in  but  a 
moderate  degree,  lie  will  have  performed  two  great  ser¬ 
vices  to  society  ;  for  he  will  make  the  rising  generation 
draughtsmen  as  well  as  penmen.  There  is  one  feature 
in  this  little  work  which  must  be  recommendatory.  It  is 
couched  in  good  language,  perspicuous  in  its  details,  and 
free  from  egotism.  We  wish  it  success ;  and  whether 
the  results  of  the  plan  there  laid  down,  or  the  stimulus 
which  it  may  impart  to  the  promulgation  of  a  still  more 
rational  mode  of  tuition,  shall  produce  improvement  in 
the  arts  of  which  they  treat,  the  public  will  still  be 
greatly  benefitted,  and  will  owe  an  obligation  to  Rem¬ 
brandt  Peale.” 


NEW  ENGLAND  MAGAZINE. 

“  As  far  as  we  are  able  to  judge,  from  a  limited  ac¬ 
quaintance  with  the  science  of  which  this  Manual  pro¬ 
poses  to  explain  the  theory,  by  the  application  of  certain 
principles,  we  would  recommend  this  little  volume  most 


RECOMMENDATORY  NOTICES. 


5 


warmly  to  the  public  attention.  It  comes  recommended 
by  a  clear,  and  well  written  preface,  as  well  as  by  an 
absence  of  pretensions,  which  is,  after  all,  one  of  the 
highest  encomiums  which  can  be  pronounced.  The 
name  of  the  author  is  familiar  to  all  lovers  of  art  in  the 
country ;  and  we  unhesitatingly  recommend  this  little 
Manual,  because  we  feel  assured  that  no  lessons  are 
taught,  which  would  not  improve  the  young  pupil.” 


THE  STAR. 

“  We  do  not  know  when  we  have  perused  a  little  work 
which  has  given  us  more  pleasure.  Its  object  is  to  in¬ 
culcate  in  plain,  easy  instructions,  assisted  by  a  series  of 
beautiful  plates,  the  first  principles  of  drawing  and  wri¬ 
ting,  which  the  author  clearly  shows  to  be  founded  on 
the  same  mathematical  rules.  We  applaud  Mr.  Peale’s 
liberality  of  feeling,  in  putting  so  high  an  estimate  on 
human  capacity,  as  to  suppose,  that  drawing  is  an  art  so 
easy  to  be  accomplished.  He  is  yet  more  to  be  applauded 
for  devoting  his  eminent  talents,  as  he  has  done,  in  this 
unpretending  volume,  to  the  purpose  of  rendering  the 
first  elements  of  his  profession  familiar  to  all  who  may 
desire  to  know  if  they,  in  reality,  are  gifted  with  the 
genius  of  the  pencil.” 


NEW  ENGLAND  GALAXY. 

u  This  production  is  the  idea  of  a  strong  mind,  strongly 
operated  upon  for  years,  in  a  department  of  education 
greatly  neglected,  and  yet  of  indispensable  importance 
in  the  every  day  transactions  of  the  commonest  life.  We 
recommend  it  heartily  to  the  attention  of  all  instructors — 
and  of  course,  to  all  fathers  and  mothers :  to  mothers 
first,  however,  before  all  and  above  all.” 


PROSPECTUS 


OF  A 

PROGRESSIVE  DRAWING  BOOK, 


COMPRISING  A 

SERIES  OF  EASY  LESSONS, 

BY  REMBRANDT  PEALE. 


For  general  instruction  in  the  Art  of  Drawing,  the 
Manual,  by  R.  Peale,  is  deemed  sufficiently  minute  to 
explain  the  fundamental  principles,  and  extensive  for 
elementary  practice  ;  but  the  Author,  whose  object  is  to 
make  Drawing  as  common  as  Writing,  and  writing  more 
simple  and  easy,  is  aware,  that  amongst  the  multitude 
who  maybe  satisfied  with  the  mere  facility  of  delineating 
the  outlines  of  objects,  there  must  be  many  whose  taste 
may  lead  them  to  desire  a  more  extensive  acquaintance 
with  the  art,  either  as  an  agreeable  and  elegant  accom¬ 
plishment,  or  for  practical  purposes  in  painting,  engrav¬ 
ing,  &c.,  and  in  various  manufactures.  For  them  it  will 
be  necessary  to  enlarge  the  field  of  study,  and  to  present 
examples  and  lessons  of  greater  variety  and  complication 
of  parts — commencing  with  the  most  simple,  and  gradu¬ 
ally  advancing  to  the  most  intricate  and  difficult,  so  as 
to  render  them  comparatively  easy. 

This  work,  which  is  now  in  hand,  will  be  published 
in  numbers,  each  containing  six  plates,  and  afforded  at  a 
price  so  moderate  as  to  place  it  within  the  reach  of  all. 


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